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Courtesy of the Metropolitan Museum) 


DIRECTOIRE PAP 


( 


HISTORIC WALL-PAPERS 


FROM THEIR INCEPTION TO THE INTRODUCTION 
OF MACHINERY 


BAY. 


NANCY MCCLELLAND 


WITH AN INTRODUCTION BY 


HENRE CLOUZOT 


CONSERVATEUR DU MUSEE GALLIERA, PARIS 


WITH 12 PLATES IN COLOUR 
245 ILLUSTRATIONS IN HALF-TONE 
AND A CHART OF PERIODS 





PHILADELPHIA & LONDON 
J. B. LIPPINCOTT COMPANY 
1924 


COPYRIGHT, 1924, BY J. B. LIPPINCOTT COMPANY 


PRINTED BY J. B. LIPPINCOTT COMPANY = 
- AT THE WASHINGTON SQUARE PRESS 
PHILADELPHIA, U. S. A. 





AUTHOR’S ACKNOWLEDGMENT 


NAHE list is long of those to whom I am indebted for 
assistance and cooperation in building this book. 

First of all, there are my friends Charles and 
Frances Huard, who furnished the keys that opened many 
doors, the intereSt and inspiration that lightened many hours, 
and the frank and sympathetic criticism that is based on real 
knowledge and a desire to make an authoritative and valuable 
record. Without them it would have been impossible to do 
what has been done. 

My thanks are due next to Miss Grace Lincoln Temple of 
Washington, who devoted much of her precious time to 
checking and adding to my list of the famous old scenic papers 
that exist in this country, contributing generously the results 
of her own travels and researches. 

To M. Henri Clouzot I owe my prettiest acknowledg- 
mentsfor hischarming and graceful introduction, which, com- 
ing from the Conservateur of the Musée Ga//era and from one 
who is himself an authority on the subject of old wall-papers, 
has a double value. 

Mr. George Leland Hunter also has a special word of 
appreciation for his kind personal interest and encouragement 
and for the gift of the coloured illuStrations facing pages 
Meaee2O0, and 234. 

To M. Charles Follot of Paris I owe the privilege of 
seeing his father’s wonderful collection of old papers, and 
many other personal kindnesses, for which I am deeply 
grateful. The photographs of Les Mois, by Fragonard fils, 
and also of Pau/ et Virginie are taken with his permission 


from this collection. 


vi AUTHOR’S ACKNOWLEDGMENT 


To M. Desfossé of Paris I am indebted for important 
photographs from his reference book, including Les Voyages 
d’ Antenor and Le ‘fardin d’ Armide. 

Those intereSted in the history of wall-paper will, I am 
sure, wish to join me in acknowledgments to Mrs. Zilpha I. 
Smith, of Augusta, Maine, who, having in her possession one 
of the rare booklets printed by Dufour to describe the Captain 
Cook Wall-paper, kindly gave me permission to copy and 
translate it. A large portion of it is published here in English 
for the first time. 

Miss Theobald of London and Mrs. W. D. Gilbert of 
New York have both rendered invaluable assistance in hunting 
out references and contributing the results to the history of 
the early English and American paper-stainers. My mother, 
in translating my copies of old French documents, has also 
given me loving and devoted aid. 

More than a word of gratitude muSt be said to the dif- 
ferent museums and their directors, who have not only put 
all their facilities at my service, but also given personal and 
painstaking interest and cooperation. I am specially indebted 
to Mr. William Sumner Appleton and the Society for the 
Preservation of New England Antiquities for the photographs 
of the paper in the Harrison Gray Otis House, the photo- 
graphs of the Olympic Fétes in the Perry House, those of 
the Hamilton House, and the bill-head of Ebenezer Clough 
now in the possession of the Bostonian Society, old State 
House, BoSton. 

Mr. Belknap of the Essex Institute, Mr. Cornelius of the 
Metropolitan Museum, Miss ‘Tutt of the Marblehead HiStor- 
ical Society, and Miss Bennett of the Chicago Art InStitute 
have also been exceedingly kind, patient, and helpful. Dr. 
Woodhouse of the Pennsylvania Museum, in furnishing the 


AUTHOR’S ACKNOWLEDGMENT vil 


photographs of the Captain Cook Paper and in opening to me 
the Museum lists of early American craftsmen, has contributed 
records of great value. 

To the Directors of the South Kensington Museum and 
the Musée des Arts Decoratifs | make this acknowledgment for 
the kind permission to use photographs of their various collec- 
tions of old wall-paper. 

A word to the different librarians who have helped me 
find among mountains of books the few rare, original docu- 
ments that are sources of information on this subject. My 
profound indebtedness is recorded here to M. Marchesné of 
the Bibliotheque Nationale, M. Marcel Bouteron of the Brd/io- 
theque de 1 Institut, Miss Fullerton of the New York Public 
Library, and the unknown person in the Library of Congress 
who has assiSted in digging out the records that I required. 

Some of the material in different chapters is used by per- 
mission of Arts and Decoration from articles of mine that 
have appeared in the magazine, and certain photographs, by 
permission of House and Garden and Good Furniture Magazine. 

This list would not be complete without reference to the 
hundreds of delightful letters that have come from every part 
of the country in answer to my questions when I was on a 
“paper chase.’’ To each and every one of these invisible friends 
who have helped with suggestions, photographs, and informa- 
tion, I send my deep appreciation of the courtesy and the 
interest that has been shown. 


Nancy Mc CLELLAND 
New York CIty 
FEBRUARY 22, 1924 





CHAPTER 


XVI. 


CONTENTS 


InTRoDucTION By Henri CLouzot, Conservateur du Musée 
Galliera, Paris . 


Tue Scope or Tuis History 


Periop I. THe Earuiest BLock-PRINTED PAPERS IN FRANCE 


Periop I (continued). Tue First BLtocx-STtaMPpED PAPERS 
RiUNG LAND 2m ih. bie uke 


e ° . . . e . . 


Periop II. Papers ImitaTING TAPESTRIES AND WoveEN 
TURE CHE Wie re See toe 


Periop III. Paper Imiratinc Printep Fasrics . 


CuINESE, ANGLO—-CHINESE, AND FRANCO-CHINESE Papers . 
Periop IV. Paper ImitratTinNc PAINTED PANELS—FRENCH 


Periop IV (continued). Paper Imitatinc PatintepD PANELS 
Pe NGUISH My © eens ys es 


Periop V. THE Epocu or Scenic PAPERS. . . 


PatnTepD Scenic Papers, FrreBoarps, BorpDERS, OvERDOORS 
AD SDCREE NS tae he Sule ts beh 


FOARLYV.GAMERICAN WALL-PAPERS + » 6 <- «6 “s « 


Some Famous Scenic PAPERS AND THEIR OWNERS 


TRANSLATION FROM Durour’s BOOKLET ON THE CAPTAIN COOK 
WATE PAPER 5. °¢ 4) oy Lo; 


. e ° . e ° 


Consrectus oF BroGrapHy OF WaLt-PAPER DESIGNERS, 
MANUFACTURERS, AND DEALERS FROM 1500 TO 1840 


Watti—Parpers IssuED BY SOME OF THE FRENCH FABRICANTS 
OF THE EIGHTEENTH AND NINETEENTH CENTURIES 


DTELIOGHAPHY 1 bce eee et ee ee ee 


EES Awe ee tae, Sue NA Ek le ee ee ae 


ix 


PAGE 


15 


141 
157 


203 
237 
279 


403 


415 


437 
447 
453 


LIST OF ILLUSTRATIONS 
COLOUR-PLATES 


[ireretorr PAPER ISSUED BY ROBERT»... 000... 0502.20000- Frontispiece 
To FACE PAGE 
A PANEL OF ANTENOR’S TRAVELS, IN THE LINDENS, Danvers, Mass.... 10 
EIGHTEENTH CENTURY WALL-PAPER ‘OVERDOOR.................0000- 66 
Pearse AN PAPILLON S Famous PAPERS?... 0.2. 6.00500 cece ne ree ens 86 
WaLL-PAPER DESIGNED BY CIETTI AND PRINTED BY REVEILLON BE- 
unee MMTO A NIE FOO at ers aa ala ells crc Fw Canoe Br skeiedis naps se ae rie 
PRETO PCE CLL TON rr ce ar fark, 5 ov bid oan sys os ob wee 124 
ONE OF THE PANELS CALLED THE FIVE SENSES, BY REVEILLON......... 126 
Tue Monuments or Paris, DEsIGNED BY Brock AND IssUED BY DUFOUR 

eth. os US ak, Ska eR epee die lye Ste ae i ae 154 
Scenic Paper IN THE ABRAHAM WHEELWRIGHT House, Newsury- 

POM CUEIVEASS en Ss. see e Rr Wt ar tne MRE ae aac eh i hx o secks 166 
RPM ap ROI NPS OE ARIS 5. ol. ec Sis bate e's, net ess bt He bw wks wd 200 
PAPER IN THE Dorotuy Quincy House, Quincy, Mass.............. 234 
Earty NINETEENTH CENTURY WALL-PAPER WITH MEDALLIONS AND 

SKET ET: LEEYSSSTCR CS SM VEN Sore cag aS A a Re al 276 

HALF-TONES 

PaGE 
THe ATELIER OF A DOMINOTIER AND THE IMPLEMENTS USED.......... 23 
Earzty Domino Paper, PRINTED IN 1700 BY DEFOURCROY OF PARIS.... 24 
BLOCK-PRINTED PAPER, LATE SEVENTEENTH CENTURY.............-. 31 
LaTeE EIGHTEENTH CENTURY Domino PaPER, 1795-1800............. 32 
PATTERN STAMPED IN Biack UsED FORA BEAM PaPER.............--- 41 
PRecien tor A STAMPED LINING PAPER. <0. .¢ a. ene oo 6 ce oe a 41 
Diree Ore LIZABETHAN WALL-PAPER..6...06546 0503-000 05d Sede ees 42 
Lintnc PAPER WITH THE ARMS OF THE HABERDASHERS’ COMPANY....... 45 
PenuinG CAPER. FRAGMENT DATING FROM 1609....5..0-+--5 060-0508 46 
Panivetouts 61 V ALL-OVER Frock PAPER, «3. 2. sss 2. cae ne ene 53 
PANEL OF FLOCK PAPER FRoM HurucoTe MANoR...22.. 2.22.02 655.>. 54 
RCCL OC Rr APER OF 1705 5.0) tts au fader oe au ie eae ead ek oe 61 
PeENeEerOCK DORDER OF 1S40c0 4 a os me's ait sags etd mane es es 62 
eee er COCK DORDER OF 1810.25. oentfee pe ee het es sees toate 62 
Tere TOCK DORDER OR, 1790c a: sad ace ae ae ea ee ae a 65 
SESE OCKMIOR D ERY oo sa 1 tiles oMics 4.5 ain ak en ei ore eee 65 
eI NAL PAPEROF PAPILLON $6).c\.) 0). cca adr. SOR ete ae ae 71 
PaprLLoN WALL-PAPER SHOWING CHINESE INFLUENCE............-4-. 72 
eer ers OO RSTON,, ABOUTIL7 7 Osi ice inti oe tae cate ke oe aur ee 77, 
SeewCTe CED APER. ABOUT L750 5: «deck fee so oe oe a 77 
Mercer A HINOISERIE:E APER oe 5 c)ai wanes si are ao ee ee 78 
LaTE SEVENTEENTH CENTURY Paper ImiTaTING TEXTILE DESIGN...... 83 
EarLy EIGHTEENTH CENTURY CHINOISERIE DESIGN...............--- 83 
A 'TExTILE DEsiGN ON WALL-PAPER, MabDE BY BasSSETIN1730......... 84 


xl LIST OF ILLUSTRATIONS 


PAGE 
WALL-PAPER OF 1750 IMITATING PRINTED LINEN................-+0-. 84 
PANEL oF ENGLISH WALL-PAPER DONE IN IMITATION OF THE CHINESE, 

T7 7038 Sy Meee eee re Bae Ree Da. CON Speer SRC TE I eee Ce eae gI 
EIGHTEENTH CENTURY CHINESE PAPER FouNnDINITALY.............. g2 
CHINESE PANELS, Earty EIGHTEENTH CENTURY, MapDE IN CHINA FOR 

Export to ENGLAND igs 35... os © an i eo ee 93 
CHINESE PaNELs, Earty EIGHTEENTH CENTURY, MapE IN CHINA FOR 

Export To ENGLAND 225.25 cou + a ee ee 94 
Fine CHINESE Paper ImMporTED SHORTLY AFTER 1770 BY ROBERT 

MORRIS statu ae eee ce eee Pe ane 97 
CHINESE PAPER IN THE LEE Mansion, MarBLEHEAD, Mass........... 98 
CHINESE PAPER IN THE DINING-ROOM OF THE Dorotuy Quincy HouseE.. Io! 
CHINESE PAPER IN THE DINING-ROOM OF THE Dorotuy Quincy HousE.. 102 
STENCILLED AND HAND-PAINTED PaPpER DONEIN FRANCE.............. 105 
STENCILLED AND HAND-PAINTED PaPER DONEIN FRANCE.............- 106 
Fine EIGHTEENTH CENTURY CHINESE PAPER, WELBECK ABBEY....... 109 
IMITATION OF CHINESE PANEL, MApE IN FRANCE IN THE EIGHTEENTH 

CENTURY. 5.55 45 Sebi eso So alu ean ae IIO 
CHINESE Paper IN THE House oF Mrs. Wi.ti1am Hooper, WEsT 

MANCHESTER, MASS oo 00005 ig eee ws orgie oe ape ce os nee III 
REVEILLON’s SIGN, REPRODUCED FROM A DOCUMENT OF THE TIME...... 117 
Two PaNnELs OF THE FIvE SENSES, IssuED BY REVEILLON............. 118 
ONE OF REVEILLON’s FLOWER PaPERS......... ete L2E 
PaNnEL DESIGNED BY CIETTI AND PRINTED BY REVEILLON ABOUTI780... I21 
Tue Grotto: Pane. or a REVEILLON PAPER... .. 1.. 9). eee 122 
PANEL OF A REVEILLON PAPER WITH HUNTRESSES, ETC................ 122 
Two OvERDOORS BY ARTHUR ET ROBERT... .... 5..- 4-0) 129 
A Beautiru. Louis XVI] PAPER. 332 . tone 130 
FRENCH EIGHTEENTH CENTURY PaPER IMITATING PRINTED TOILE...... 130 
Fine Louis XVI ParPer ATTRIBUTED TO JACQUEMART ET BENARD...... 133 
Louis XVI WaLL-PAPER ILLUSTRATING THE PEEP-SHOW.............. 134 
Two EIGHTEENTH CENTURY Papers Mabe To Imitate Morré Ris- 

BONS .005 oe sine ds ane foie eete Bkigoey OUR Sms Slo a 137 
EIGHTEENTH CENTURY FRENCH WALL-PAPER WITH DESIGN BY PHILIPPE 

DE LA SALLE ws 5.5 on 5 6 on ed CAR ee ee a 138 
WALL-PAPER FROM DoppiIncTon HALL, PRINTED By JoHN BaptTIsT 

JACKSON 2. 63 a 2 oS Sie 2 yo eee ee 145 
A Jackson OF BaTTERSEA PaPER IN THE Upper Hai or HarIncToNn 

HOUSE? 6. 22d eae eet fas Fey ae eee 146 
A Jackson oF BATTERSEA PAPER IN THE Upper HALi or HAaRINGTON 

Hous: 2 ayo sea ee se ote heen a Sa ee ae ee ee 147 
A Jackson OF BaTTERSEA PAPER IN THE UPPER HALu oF HARINGTON 

ls Col oc) Ep rae een er Gr GE 148 
OnE oF JacKson’s VENETIAN PRINTs IN STRAWBERRY HILL............ ISI 
One oF Jackson’s VENETIAN PRINTs IN STRAWBERRY HILL............ 152 
GRISAILLE Parer, Eanty NINETEENTH CENTURY, WITH LANDSCAPE AND 

MarINE SCENES «. & o0.¢ 4 su 20 ay be eos a mie ee oh ee 161 
Two Empire WALL-PAPER PANELS IN BRILLIANT COLOURS............ 162 
Les PorTIQUES D’ATHENES. 4. 035.055 dean ee ue 163 
Les PortTiques D’ATHENES .. <3 aes ee ae es ee 164 


Payvsace A CuasskE, PRINTED BY ZUBER IN 1931 ......752.. eee 169 


LIST OF ILLUSTRATIONS 


Pear Gts CHASSE. PRINTED BY ZUBER IN 1831... ..4.0- 00: 0 neces ete: 
DIRECTOIRE WALL-PAPER WITH ARCHES. By DusERRE ETCIE......... 
ont FUE EAR NS 


HEBE, Juno, Ceres, Diana, anp VENuS, DEcoRATIVE PANELS PRINTED 
eR TAB OUTST S30 \ ay cc tamtay Oe accra A cw cao baka wa ae Os 
rmrenuc Ee Te APER BY OIMON«). a a civ suena we dese as eee casa dle os 


Tue Crp, a Scenic Parer PRINTED IN COLOURS ABOUT 1830........... 
THE Crp, a Scenic Parper PRINTED IN COLOURS ABOUT 1830........... 
THE Crp, a Scenic PAPER PRINTED IN COLOURS ABOUT 1830........:.. 
Earty NINETEENTH CENTURY LANDSCAPE PAPER IN THE HARRISON 
Me MMPTCEr LCs erm Ge Sian ce a ae a Cony ete ened vad ck 
Earty NINETEENTH CENTURY LANDSCAPE PAPER IN THE Harrison 
SEIT GUSH ee Oe inte a Se hv ab diea sdkwcsdde « 
Earty NINETEENTH CENTURY LaNpscaPE PAPER IN THE HARRISON 
MCNEELY OCB ie Osh Noes oie os SP ee os oe ewe Sw bb cts 
Le Petir Decor. THe Same Pane, TAKEN FROM Two DIFFERENT 
err Pe ine ee Sh hb eee Pat eeecke 
Earity LanpscareE PaPER IN THE COLONEL WILLIAM Raymonp LEE 
Cee PME Aes ty ee ee eile oela Sb Sums OSL DS wR 
APOLLO AND THE Muses, TEN Panets ImitatTinc Bronze StTaTuEs, 
RR Ore arg UrOUR ABOUIGISIOs 0 lv ae dene ese eee Ree os 
APOLLO AND THE Muses, TEN Panets ImiTaTinG Bronze STATUES, 
MON MeD YM UFOURABOUT 1830.0. 005.05 nce ends coals few one 
Aw ORDER FROM LE GENDRE OF Paris, IN 1807-1808 ...............4. 
Tue VENETIAN BuIND IN WALL-PAPER. PRINTED BY DuFOUR.......... 


ee rN iris ea eo has ace 2 ghia lay Aah de ae PAD A ahd wend we hen 
“THE PAINTED CHAMBER”’ IN QUILLCOTE, THE HoME OF THE LaTE KaTE 

eon VE GCUN RS es ores oy ht Oh meee be yi a lee elev ce eg 
i SR Se RUNG USNEWS: © ei a dle tg an a a Pe 
PE En oo) Sonne ota kie Kenn ees bee bee Soe hanes 
PAINTED PANEL ForMED OF FIVE STRIPS OF WALL-PAPER.............. 
FRENCH SCENIC PAPER, PAINTED, LATE EIGHTEENTH CENTURY........ 
NAPOLEON ON THE BRIDGE AT ARCOLA. PAINTED FRENCH SCENIC PAPER. 
PaINTED DECORATION IN THE BARNARD-ANDREW-PERKINS HOUSE...... 
Tue THree Musketeers. D’ARTAGNAN LEAVES HIS FATHER’S House.. 
Tue THREE Musketeers. Monsieur BoNnaAciIEUX IN FRONT OF HIS 


Tue THree Musketeers. D’ARTAGNAN’S ENCOUNTER WITH THE CaR- 
SUMMONS CS UEA RTS oT Ghee, ee A aa ie en oie vet RL ha een ee 
Tue THREE MuskETEERS. SETTING OuT ON HorsEBACK FOR ENGLAND.. 
fae lurere MUSKETEERS. [HE EXECUTION OF MILADY.....-..0...5. 
ONE OF A SERIES OF EIGHTEENTH CENTURY PAINTED PAPER PANELS.... 
PAINTED PANELS oF EaRLy NINETEENTH CENTURY ON BACKGROUNDS OF 
PE RRRERIZED PAPER 2; 4 luscichs ote Seda ei ee ts 
WALL-PAPER FiIREBOARD; BLUEBEARD HANDING THE KEy To ONE OF 
PFLSRYV EVES SOLGMPIR E * schoo aves ain oe Sie cha ae a Oe ee ee hee 


XIV LIST OF ILLUSTRATIONS 


THE SKATERS, AFTER VANILOO V2 ee eee 
WALL-PAPER PANEL AFTER DEsIGN BY VERNET, IN CoLours, E1GH- 

TEENTH CENTURY £ coyote poe ee ee 
CHIMNEYBOARD WITH VASE OF FLOWERS, WALL-PAPER PANEL, EIGH- 

TRENTH (EN TEDRY oe ene ene Keg ot Oe aS ee 
Two WaL.L-PAPER OverRpoors IN Ciassic STYLE, NINETEENTH CEN- 

TURY, FRENCH oy e629. 0.2 © gant oe Soo ee ee 
WaALL-PAPER PANEL WITH THE AMERICAN EAGLE AND CROSSED F Lacs... 
Louis XVI WaALL-PAPER FRIEZE WITH SCENES AFTER VERNET.......... 
One or DuFouR’s Drapery BORDERS? =...) eee 
WaLL-PAPER BorpeEr OF MoorisuH ARCHES WITH MaRINE VIEWS....... 
WALL-PAPER OVERDOOR IN RENAISSANCE OTYLE........ 9-150) 


A BEAuTIFUL WALL-PAPER SCREEN, Louis XV CHINOISERIE........... 
NINETEENTH CENTURY WALL-PAPER SCREEN. ..:..:..055. 020 ee ‘ 


Louis XVI WaLL-PAPER SCREEN WITH MEDALuions, VASES OFFLOWERS, 


anv Musica ATTRIBUTES. 4... 00.) 454550 


Tue LexincTon MINUTE-MAN. ORIGINAL WALL-PAPER IN THE HALL OF 
THE BucKMAN Tavern, Lexincton, Mass. 5... ...)) eee 
Ture Narrows, From Fort HAMILTON........2. 7... 55s 
WALL-PAPER WITH MeEpaLitions REPRESENTING NAPOLEON AT ST. 
HELENA. 0. fc cn bees ek ob ep ee 
Tue Dorotuy Quincy WEppING PAPER IN PLACE ON THE WALLS....... 
Tue Peacock PAPER IN THE GOVERNOR Gore Mansion at WALTHAM, 
MASS. oo. ee ce cick le tease ine Natalie te Stas Re ge 
Gotuic PAapEeR-HANGING SucH as Tuomas LEE or Boston ImMporTED 
IN. 1764-65). oe. es eh eseg 2 seeps eo ole eR 
THe “Esmeratpa”’ Paper. A Paper oF 1831 REPRESENTING THE 
Gypsy In: Victor Huco’s Novet, “Notre DAME”. .... >). 
PAPER IN THE Hatt oF Hamitton House, Soutu Berwick, MAINE.... 
Paper IN THE WeEsT Room oF THE HANcocK-CLaRK House IN LEXING- 
TON, Mass., DATED (1734. 22. a20cs ok nee ee 
PAPER FROM THE SHOP OF WILLIAM PoyNTELL, PHILADELPHIA......... 
PAPER FROM THE SHOP OF WILLIAM PoOYNTELL, PHILADELPHIA......... 
O_p WALL-PAPER IN THE STANTON House, CLINTON, CONN............ 
PUMPKIN-COLOURED EMPIRE Paper Sarip TO REPRESENT THE LITTLE 
Kine or ROME... Yas 0:0 Se ae ae eee 


ALL-OVER PAPER FROM THE DoyLE MANSION aT SALEM, Mass......... 
THe WaSHINGTON MEMORIAL PAPER....2....4......0. 50 


WaALL-PAPER IN THE DupLEyY Houses, Hopkinton, N. H.............. 
WALL-PAPER IN THE GOVERNOR Gore Mansion, Wattuam, Mass...... 
PomPEIAN Mepa.uion Mane By Asa SMITH OF BALTIMORE, WHO HAD A 

FACTORY BETWEEN 1800 anid 1810.... )5u~....05 7. oo 
PaPER IN THE GENERAL Montcomery House, Haverui.u, N. H...... 
Les AMouRs DE PsycHE: RECONCILIATION OF VENUS AND PSYCHE...... 


271 
272 


275 
283 


Cis OF TREUSTRATIONS XV 


ibs AMOURS DE PSYCHE: PSYCHE ATTHE BATH ...............004.- 284 
Les Amours DE Psycué: PsycHe SHOWING HER JEWELS TO HER SISTERS. 285 
Les AMours DE PsycuE: PsycuE DISCOVERS THAT THE SLEEPING YOUTH ~ 


Seer EEC OD OFAO VE jc sa oc led ooh seks 286 
CuasseE A CourreE (THE Hunt) sy JACQUEMARTET BENARD........... 288 
eM MEIC ANE TOF, THI LIUNTS « oF 0/5) wicca svat) 4 dies ¢ ha ee ne ue 289 
PeteeeieerMP LE PROCESSION: o4 400 a0 sc 4 Kb eed d otencs Feuedu 291 
Tue Horse Race, By JEAN ZUBER, 1838. From an OLD PRINT......... 293 
IeTRECTOIRES PAPER BY ARTHUR ET ROBERT. .......0-.5.+5: pes has 295 
DirEcTOIRE PaPER IN COLLECTION OF CHARLES HuarpD.............. 297 
Mom OUrRmOTE PAPER, WITH PRINTED DADO... 22.55.0600. ee cece es 299 
FROM THE SERIES OF THE TWELVE MONTHS OF THE YEAR, DESIGNED BY 

Rene Sree TLL LOM e rahe ree Anne) Pt 7s ste aae oa fy Wield aabea ss 301 
Two oF THE TwWELvE Montus, DEsIGNED BY FRAGONARD Fits......... 302 
Ore wangel CANELEROM KLDORADO..\... 24 oe eee ede eee ete 305 
Peete teihs OF THE. FRENCH IN LGYPT. . 2.4.54. has ieee d awe esis 307 
Seer me NOM NUAND- COUNTRY 6a, so 04 obo tcn ole Dees es eke wea 309 
Sere MOW MAND: COUNTRY «0 ¢ 5s 05. ¢ foarhc's vec enawbaedeun cs 310 
Pee oM@ EO WNEAND COUNTRY; fo 4505-04 eave dete hb baele bees ates 311 
Peet LO WNIAND. COUNTRY ya.cy cu > Giab as een e ease ace me wees 212 
ST EEEMUONCNEAND (COUNTRY... 6 ye: co cop decisis vis Re bint ain be pee’ a13 
Tue MyrTuorocica, GALLERY IN THE House oF JAMEs DEERING, 

Miami, FLtoripa. PANEL oF PHAETON AND APOLLO................ 315 
Tue MytHo.tocicat GALtery. THE JUDGMENT OF PaRIS............. 316 
eee TROnOGICAL GALLERY* VENUS... isc. 08 ee eG ek ees eee tee a0 7 
CMR RCP INE TS ate ec) oe 6 2 edhe Race ploy oD eee aes aoe 319 
rem UM OEGIGNED BY VERNET. «<0 05.5% 0.20% os a004 bale sa edd woe 320 
Sera Gir elOrsiGNED BY VERNET.. 2.62... 04 ele eee ce ee Pe eee oe 221 
Pane oF Les Incas IN THE LINDENS, Danvers, Mass............... 323 
Roman Ruins, PAPER By JACKSON OF BaTTERSEA. IN THE ORIGINAL 

WereencsELArn MANSION; ALBANY, N: Yois0..¢s0004. a00en0-- 225 
Doorway IN Hatt oF THE ORIGINAL VAN RENSSELAER MANsion...... 326 
Bod mwiwuins BY |ACKSON OF BATTERSEA. 20. 6...2 02% 5) cen cence 327 
SMALL MEDALLION PANEL BY JACKSON OF BATTERSEA.........-.--055 328 
Doorway IN ORIGINAL VAN RENSSELAER Mansion, ALtBaNy, N. Y.... 329 
Tue GarvEN or ARMIDE, COMPOSED IN PANELS...........0 0000 ee eues 331 
emerge COR.1530 IGDITION 2) ...0. ya fh eee ONS wa vee ween 333 
Merete DECOR. 1830) DITION: 2 5.2 pO ones ones 4 whee eee 334 
SP ae DECOR, (1930 LLDITION. ... «e062 ood bs gees 335 
Tue Monuments oF Paris, PRINTED BY DUFOURIN I8I5...........-. A377, 
LANDSCAPE OF THE Hunt, DesicNEpD BY DELTIL AND PRINTED BY ZUBER 

Bee eae er. so io wl nee aay euelgs Wie hepe agin Ulm iee Sata we eet 339 
Paut AND VirGINIA. DomiInco AND THE Doc, FIDELE, DISCOVER THE 

CeeOUNG PEOPLEL....) 5 «.s45-2h+ sade abe e ee ee ere arr 341 
Pau. AnD Vircinia. Staves Carry Home THE Two YounG PEOPLE.... 342 
PauL AND VirGINIA. THE PLANTER AGREES TO VIRGINIA’S PLEA....... 343 
Paut anp Vircinia’s Last INTERVIEW. THE HuRRICANE AND THE 

Se EG Te ICR fas Ais secas oe eos 3 are a poawae Betaygs hee ane Sao Ree eee 344 
eer AD YOR THE. [AK Efe 9' 0. ae auc’ stescs prin ore obey eae ee age 346 


re MINA COE THE LAKE. = fivich soo have Wie wists sale ote echelon eae 347 


Xvl LIST OF ILLUSTRATIONS 


PAGE 
RENAUD AND ARMIDE. RENAUD FALLS UNDER THE SPELL OF ARMIDE.... 349 
RENAUD: VANOUISHES THE DEMONS), 0.02 =. oes ee 350 
ReENAupD’s Companions Carry Him Away ina BoaT..............--- 351 
Paut REVERE WALL-PAPER IN LIVING-ROOM OF HIS Boston HouseE..... 353 
Tre, DREAM OF HAPPINESS 33 oo ops 2 et Se 455 
‘THe DREAM O¥ HAPPINESS 2 220.035. so os ae ee 356 
THE DREAM OF HAPPINESS (4.225. 304.19 ee Se ee ee 357 
THE DREAM OF HAPPINESS 230 295.504 2 3-5 ono ae 358 
PAYSAGE INDIEN: G..e.0 cits. a ee ai een Dee eee 361 
PaysaGE INDIBN A ods oe. FP den aed ae Le ee ee 362 
PAYSAGE INDIEN.S Ai SiceGileste can «doe le eee oc eee 363 
BANKS OF THE BOSPHORUS. ¢ 6404 e404 100 caus ae en 365 


Captain Cook Paper: Natives or Nootka, ULiéTEA, AND HAPaEE... 367 
CapTaIn Coox Paprer: THE DANCE OF THE OTAHiITI GIRLS BEFORE 


Kinc O-Too. War CaNnoE AND DEATH OF CAPTAIN COOK.......... 368 
Captain Coox Paper: Natives or New ZEALAND, STRAITS OF PRINCE 
WILLIAM, ANNAAMOKA, AND NEw CALEDONIA..............00004- 369 


Captain Cook Paper: WreEsTLING MaTcu IN THE ISLAND OF TONGA- 
TABO. NaTIVEs OF ST. CHRISTINE, MarQulisE, EASTER, AND PELOW 


ISLANDS # 00's weds ee o's pain @ slo eect © a ans aus wee 370 
‘THE SEASONS: SPRING. ink cs. < eee vou hme Ob Oe A792, 
THE SEASONS? SUMMER. ... «2 cuss je ds 354 ots + eee 373 
Tue Seasons: AUTUMN... 6.5... 9445.0 8u0:8. +4 2 oP ee 374 
THe Seasons: WINTER... (65 Sntes uc eye ets 375 
TELEMACHUS IN THE ISLAND OF CALYPSO............35.55. 0 577, 
VoyvAGEs D’ANTENOR. 6 c.c%6 et 0 5 bts eee oe oe a 379 
VENETIAN SCENES «3. 5004 5 spe ce be gs a wn ae 381 
VENETIAN SCENES 42.65 ss nd. wd baum a evi altel aie ave le eee 382 
VENETIAN SCENES... 6.6. casas cvs Ab le nein ok once eee 383 
VENETIAN SCENES 4 5 1; ston yen nb be amie orig nea oe ne 384 
VENETIAN SCENES .: oi 2 2 os aba inn woe Jed) ge ee ee ee 385 
SCENIC:AMERICA ; ()s 25 ds abd ohn ie tae Se) ae ee 387 
Tae Bay or NAPLES és. S415 Sig oie yn c'e a wl a 389 
Views or LONDON 2.0 icc shes See ee rs a ee 391 
Views or Lyons. PRINTED BY DuFouR ABOUT 1820............ Bro 393 
Otympic FETEs: OBLATION TO BACCHUS... >........2..55 ee 395 
Otympic Fetes: A TRIBUTE TO HOMER.....;......-25-5- 5 396 


CuHartT oF PERIops At end of volume 


INTRODUCTION 
BN 


HENRI CLOUZOT 


CONSERVATEUR DU MUSEE GALLIERA, PARIS 





INTRODUCTION 


OWARD the end of the sixteenth century, when 

wall-paper came into the world, the good fairies 

surrounded its cradle. One beStowed on the infant 
the gift of grace of design ; another, freshness and gaiety of 
colour ; a third, imagination and variety of composition. But 
an old witch, who had been forgotten, deStroyed the effect 
of these generous gifts. 

“Thou shalt have all that my sisters have foretold,” she 
decreed, ‘‘and thou shalt even add to these qualities the 
inestimable one of being the least costly of wall hangings. 
But thou shalt always remain an art of imitation.” 

It has happened as the sorceress foretold. In so far as 
the new-born child has grown and developed its natural gifts 
by making use of the progress of art and science, it has always 
been an echo of somebody or of something. It has reproduced 
in a lesser way what others have conceived and worked out 
in richer materials. It has remained what it was at its début: 
the tapestry of the economist. 

Evidence is lacking about its infancy. Its first Steps are 
still in obscurity. Everything leads us to believe that the 
scattered references found in edi¢ts and inventories, between 
1595 and 16go, to ‘papers destined to serve as tapestries 
relate rather to isolated experiments than to organized fabrica- 
tion. But during this period, which I will call the age of 
tapestry, we may imagine that the ingenuity of the inventors 
was exerted above all to create the illusion of weaving. We 
are sure of this in the case of one of them, Le Francois, the 
binder of Rouen, whose wood-blocks Still existed in the middle 
of the eighteenth century. He made not only landscapes and 

3 


4 INTRODUCTION 


historical scenes in imitation of woven tapestries, but also bro- 
catelle and Genoese velvets. 

In the next age, as we can well anticipate, wall-paper 
trusts to its own wings. Flock papers went out of fashion 
before they were brought to such a State of perfection that 
they came into general use. A modest wood-engraver, Jean 
Papillon, has the idea of applying to wall decoration the illu- 
minated sheets of paper which the domznotiers had used to trim 
boxes, dressing-rooms, and artisans’ shops, fitting them together 
to make a continuous design. ‘There is no longer a thought 
of reproducing tapestries or woven Stuffs. Paper does not 
lend itself to this as well as chopped wool ; hence the domino- 
tiers remain original in spite of themselves. At the mot 
they attempt, with touching awkwardness, to represent mould- 
ings and architectural ornaments. But their real scope is the 
flower and the geometric design. With delightful whimsical- 
ity, they make out of wall-paper embroidery-patterns in which 
nothing is lacking but the sheen of silk and the warm reflec- 
tions of wool. And perhaps the medley of their Stencilled 
colours is better suited to the gaiety of mural decorations 
than textiles themselves. 

The imitators of Papillon have an invaluable quality which 
they have inherited from the domznotzers and wood-engravers. 
They do their work simply. The outline of their design is 
full of Stress and decision. ‘They show an aStonishing grasp 
of composition without ever falling into the fault of excess of 
ornament. The flat tones of their colouring make no attempt 
to give the effect of relief. ‘They would have proven quite 
inadequate. Here we have perfect decoration in a single 
plane. It needs no great boldness of taste to decide that this 
age of illuminated or hand-coloured prints is the most delight- 
ful period of wall-paper in France. 


INTRODUCTION 5 


Unfortunately fashion is fickle. While illuminated paper 
is at its height, about 1750, flock papers, which Le Frang¢ois 
invented more than a century earlier, suddenly return to 
cause a frightful rivalry. This time there is no question of 
experiments more or less successful. The English, who bring 
back to France an old invention, have admirably perfected it. 
They imitate printed Indian cottons, Utrecht velvets, damasks. 
Beside these sumptuous cross-channel papers, what place 
have the simple illuminations of Aubert, Chauvau, and 
Huquier? French manufacturers are forced to follow the 
fashion and to make the foreign papers in Paris. None fails 
to do this, and the French production of English papers, 
added to the merchandise imported from across the chan- 
nel, becomes so plentiful that ten years later nobody cares 
for flock. 

Another English invention has a wider range. It is that 
of papers with backgrounds put on with a brush in plain 
colours, and designs printed from wood-blocks in self tones 
or in polychrome, by means of distemper colours. The date 
of the introduction of these new papers is furnished us in 
J. M. Papillon’s Addenda to his Treasise on Wood-engraving. 
It is therefore around 1766. No doubt these first papers are 
far from perfect. ‘The colour is so soluble that one can 
scarcely glue them and put them in place without having it 
come off on the fingers.’’ But J. M. Papillon is wrong in 
predicting that their frailty will make them unpopular. On 
the contrary they will remain the point of departure of 
modern fabrication, and the name of ‘Painted Papers,”’ 
which appears with them for the first time in France, will 
be henceforth a lasting appellation, in spite of all the improve- 
ments of machinery. 

The new technique is not immediately substituted for the 


6 INTRODUCTION 


old. Important fabricants, to be sure, put into practice this 
method of working in water-colours, but there Still are, at 
the end of the eighteenth century, throughout the Kingdom 
of France, small ateliers that remain faithful to paper illumi- 
nated or printed with glue-sized colours from superimposed 
wood-blocks. Nevertheless the age of wall-paper has begun. 
Technique will become more and more involved in attempts 
to deceive the eye, thanks to the new combinations which 
painted backgrounds permit. 

To tell the truth, during the laSt years of Louis XV and 
throughout the reign of Louis XVI, imitation is not servile. 
Paper-makers are not yet sufficiently well equipped for this. 
Then too, at this period of happy and facile creative work, 
everything that comes from the presses of Reveillon and his 
rivals is saved by its grace. But the meo-grec flood of the 
Revolution and of the Empire, which it would be exaggerated 
to cite as an example of good taste, brings about an enormous 
production of real or simulated draperies. From 1797 to 1806, 
all the fabricants take out patents for imitating linon batiste, 
mousseline, and satin. ‘They imitate pleats and embroideries 
and guipures. It is Still better under the ReStoration—or 
still worse—for the manufacturers succeed in obtaining mar- 
vellous imitative effects, notably in papers to look like satin. 

Still, art is not wholly lacking in the wall-hangings re- 
quired by these fashions, nor is it lacking in the deluge of 
architectural ornaments which the Empire and ReStoration 
lavish on domestic interiors. One might almost say that the 
manufacturers display too much art. In the mouldings, in the 
pleats of material, and in the embroideries, they attempt to 
give the impression of relief, and this is a false conStruction. 
These medallions in grisaille, these gilded palms, these laurel 
wreaths in green bronze, these trophies of war, are a prodig- 


INTRODUCTION > 


ious piece of work, but they would be more easily understood 
in carved wood, or even in Stucco. 

It is no different with the figures and the personages 
which the artists employed by Reveillon — Cietti, J. B. Fay, 
Huet, Prieur, Lavallée- Poussin — intermingle with arabesques 
and flower ornaments. These designs have all the seduction 
of the mo&t charming creations of the eighteenth century. 
They are not in their proper place, especially in papers made in 
strips, where the same motif reappears with wearisome insist- 
ence. Whatever merit these compositions may have in 
suggesting the fresh inspiration of tole de “fouy, they lead 
wall-paper toward anecdote, and this is regrettable. 

Paper now makes a complete entry into this realm with 
the large Story-panels which Miss McClelland calls ‘‘ scenic 
papers,” a term for which the French language has no 
equivalent. 

The manufacturers have succeeded—at the cost of what 
amazing efforts!—in imitating painting with wall-paper, 
with all its effects of light and shade, of colour and perspective. 
Dufour, Leroy, Zuber, in spite of their masterpieces, fall 
into the error of Oudry, when he directed tapestry, sixty 
years earlier, towards the servile reproduction of painting. 
Painting is one thing; wall-paper is another. Even in 
grisaille, where the general tonality is a note of harmonious 
half-tones, scenic paper is apt to count too much in a room. 
It attracts interest, when it should serve merely as an accom- 
paniment. Let us say, however, in defense of the decorators 
of the beginning of the nineteenth century, that the dwellings 
of that day contained much less furniture than ours. Certain 
rooms like entrance halls, dining-rooms, and billiard-rooms 
had none whatever. These pictures in paper enliven the walls 
and, taken as a whole, the scenes with a hundred figures form, 


8 INTRODUCTION 


as Theophile Gautier once said of the hall of a Simplon Inn, 
‘an encyclopedia worth consulting while waiting for the 
soup.” If these panels, when they are the work of a Laffitte, 
like the Story of Psyche, are worthy of the dwelling of an 
artist, the scenes of Telemachus in the Island of Calypso are 
proper to put in the bourgeois boarding-house of Madame 
Vauquier and to frame the ludicrous face of Pére Goriot. Do 
not confuse the intereSt of curiosity which inspires us to-day 
with the admiration reserved for real works of art. 

Asa whole, outside of these great compositions, wall-paper 
during the nineteenth century does not go beyond the artificial 
and the factitious. Silk, painted linen, velvet, wood, marble, 
bronze, pottery, leather — it repeats them all. ‘The difficulty 
is not to say what it imitates, but what it does not imitate. 
And Charles Blanc, the official grammarian of Decorative Art 
under Napoleon III finds this excellent. He describes the 
amazing effects of printing and finish which give ‘a simple 
sheet of paper not only the brilliance of silk and satin, the 
Stiffness of moire, the Stuff colours of cloth and of felt, the 
polish of ceramic glazes, but the grain of a material, the very 
stitch of old tapeStries, the thickness of crocheted embroideries, 
the deep embossing of Spanish leather, the punctuated swelling 
of brocatelle and even the bulge of a padded Stuff.” 

In the second half of the nineteenth century, the disease 
of the Second Empire! Wall-paper passes through a deplora- 
ble Stage, that of unpremeditated commercialization, which 
causes manufacturers to adopt every kind of model, provided 
that it may be produced quickly and cheaply. Artistic merit 
here, as always, is in inverse ratio to progress in technical 
methods. It is not necessary to be much enlightened in order 
to prefer a domino paper of the seventeenth or eighteenth 
century, awkwardly coloured with a brush, to a roll of paper 


INTRODUCTION 9 


printed in twelve or fourteen colours by one of the perfected 
machines of the nineteenth century. Let us explain. As 
long as an artisan is obliged to Struggle with the difficulty of 
executing his work and to conquer his processes, one by one, 
he keeps only the essential lines of his model. He simplifies ; 
he concentrates. What the beauties and the difficulties of 
rhythm and measure give to a piece of verse may be transposed 
from the realm of poetry to the realm of applied art. 

Let us not, however, be too hard on the printing-machine. 
If it has made ugly things, that is because it has been furnished 
with ugly models. Machine-printing is quite as indispensable 
to economic equilibrium as printing from hand-blocks, the 
revival of which in the last twenty years has brought wall- 
paper back into house decoration, rejuvenated by designers of 
taste. Groult, Sue, Mare, Gampert, d’Espagnat, Camus, 
Drésa, de Andrada, Follot, Dufrené, Hellé, Gabriel, Klein, 
Thomas, — to speak only of the French artists, — have care- 
fully avoided reproductions and deceptions. ‘Their talent, 
sincere and free from artificiality, after two centuries joins 
hands with the technique of the unknown domuinotiers, whose 
rare and unique works are to-day the object of our affec- 
tionate admiration. 

A last word. 

There does not exist in France, the cradle of wall-paper, 
a general review of its history. Miss McClelland, in dedi- 
cating in America a real tribute to this art, which is so 
charming and so little known, will, it is to be hoped, give 
a salutary lesson to the French, and once more open their 
eyes to the treasures of their own country. 


Henri CLouzor 
Paris 
JANUARY, 1924 


G 


ar 








A PANEL OF ANTENOR’S TRAVELS, IN THE LINDENS, DANVERS, MASS., WHERE IT IS INTERMIXED WITH TELEMACHUS AND LES INCAS 
The complete paper of which this forms part is shown on page 379 








CHAPTER I 
THE SCOPE OF THIS HISTORY 





HISTORIC WALL-PAPERS 


CHAPTER I 
THE SCOPE OF THIS HISTORY 


HEN Kate Sanborn collected and published eighty- 
\ \ three photographs of famous papers in 1go5, she 
rendered a service to lovers of old wall-paper that 

will never be forgotten. 

“If a book has ever been written on this subject,’ she 
said at the time, ‘‘it has been impossible to discover.”’ 

Since then so much has been written about wall-paper 
that is purely conjectural that there seems Still to be room 
for a book that is purely fact. Except for Felix Follot’s report 
on French wall-papers, done for the Retrospective Exhibit at 
the Paris Exposition of 1goo, there has never been a serious 
and scholarly attempt to make a Study of this subject from 
original documents. No complete and comprehensive history 
has been written, probably because authentic sources of in- 
formation are too difficult to find. What remains mu& be 
patiently pieced together like a patchwork quilt, to form a 
coherent whole. 

For example, the Story of the earlieSt makers of wall-paper 
in France, the Dominotiers, has been reconstructed largely 
from a Study of the legislative acts that apply to their activi- 
ties. Concerning the first manufacturers of wall-paper in 
England, there is nothing except the official records in the Pat- 
ent Office. A veil hangs over the beginning of the induStry in 
Germany and Holland. The records of the birth of American 
wall-papers have never until now been collected and presented. 

13 


14 HISTORIC WALL-PAPERS 


The quest for information has led to Strange and unex- 
pected places—to a Governor’s mansion, to the cellars of the 
great Bibliothéque Nationale in Paris, to country inns, to 
dusty old books printed in French and English and German 
of a by-gone day, to manuscripts and museums, to attics and 
long-locked boxes and forgotten trunks. It has been an in- 
cessant and engrossing pursuit during the last three years. Like 
Hunter in his Study of Stiegel glass, I have set down both 
‘‘what I found and what I failed to find,” in the hope that 
both may be useful. 

The development of the wall-paper induStry is traced in 
this volume from its beginning to the introduction of ma- 
chine-printing. The scope has been limited to happenings be- 
tween 1500 and 1840 in the belief that it is more valuable to 
contribute information about the remote and obscure events 
of wall-paper history than about those recent enough to be 
generally available. 

One of the first things that became evident after a pre- 
liminary investigation was that wall-paper passed through 
certain definite Stages in its development which could be 
classified by periods. In tracing its history, I have attempted 
to analyze each new manifestation in relation to the period 
into which it falls of its own accord. 

After Stumbling through the experimental Stage, the first 
makers of wall-paper began to realize what important funétions 
this new product was capable of performing. Their initial 
serious attempts were to produce something that should be 
an imitation of tapeStries and woven Stuffs. For this we 
know they used wood-blocks in place of the earliest Stencils, 
an ingenious invention of gum-like varnish in place of 
printer’s ink, and chopped wool to create the effect given by 
the looms. 


THE SCOPE OF THIS’ HISTORY 15 


Wall-papers in the guise of printed cottons followed these 
paper tapestries. ‘The new imitations were largely influenced 
in design by the importations of Chinese papers and Eastern 
Stuffs which brought fresh sources of inspiration into the 
Western world. By the simple method of printing the out- 
line from wood-blocks and filling in the colours with Stencil 
patterns, wall-paper makers imitated these designs and adapted 
them to new uses. 

But paper was capable of Still other transformations. In 
the hands of Reveillon and the artists of the eighteenth 
century who perfected printing in colour from wood-blocks, 
paper was made to imitate decorative painting and brought 
to the higheSt point of technical excellence. The transition 
to the Epoch of Scenic Papers was natural and inevitable. 

As M. Joseph Dufour says in the Captain Cook booklet, 
all the romantic and decorative points of view were exhausted 
in the attempt to find something Startling and new in wall- 
paper. Nothing was neglected. 

By 1840 the printing-machine had eStablished its reign : 
1867 marked the end of any notable production of hand- 
blocked papers. 

This in brief is the ground covered by this history, with 
the added desire of showing the different expressions of each 
phase of wall-paper in France, England, and America. 

It is usual to judge an imitation according to the exact 
degree of faithfulness with which it reproduces the original 
object. An imitation pearl is of small interest unless it 
resembles a real pearl so closely that the difference cannot 
be superficially detected. But wall-paper has succeeded in 
being always areproduction and yet in keeping alwaysa definite 
character of its own, due to its texture and its processes. This 
is a curious quality, that can be claimed by no other imitation. 


16 HISTORIC WALL—PAPERS 


It is what gives wall-paper a great part of its allure, its in- 
dividuality, and its diverting humour. 

The Golden Age of wall-paper, the flower of its develop- 
ment, came in France with the eighteenth century, because 
artists devoted their talents to creating and painting the designs, 
and artists executed them. When a Papillon, a Boucher, 
a Fragonard, a Huet, a Malaine, or a Lafitte makes the sketch, 
when artiSts like Le Sueur and Mader and Poilly engrave the 
blocks, and when the printing is done by workmen who have 
love and understanding of their craft, the results are bound to 
be superlative. The same thing happened when Cellini 
designed jewellery and when Lancret and Watteau decorated 
screens or snuft-boxes. 

Since the introduction of machinery, the intimate and 
sensitive relation between the workman and his material is 
finished. We cannot expect personal supervision from our 
modern workmen of iron and Steel and copper. We can 
expect only that they will do exactly what we bid them to 
do. The duty of to-day, then, is to see that they are furnished 
with designs that are fine and beautiful. We must not forget, 
in our desire to perfect their cogs and wheels, and the marvel 
of their rapid impressions, that wall-paper will never be better 
than its design, no matter what its degree of superiority in 
mechanical execution. 


CHAPTER II 


PERIOD I 
THE EARLIEST BLOCK-PRINTED PAPERS IN FRANCE 


THE DOMINOTIERS IMAGES 
MARBLEIZED PAPERS UPHOLSTERY PAPERS 





CHAPTER II 
PERIOD I 
THE EARLIEST BLOCK-PRINTED PAPERS IN FRANCE 


T IS evident that the invention of printed papers began 
either contemporaneously with the invention of printed 
books or shortly afterwards. As soon as the discovery 

was made that type could be cut on wood-blocks and printed, 
the cutting of small figures and decorative designs followed 
as a natural result. 

Before this era, the rare papers used to decorate walls had 
been painted by hand and apparently hung like pictures, as 
movable decorations. The fifty large scrolls of painted paper 
ordered by Louis XI from Jean Bourdichon in 1481 were a 
hanging that the King could take with him wherever he 
went. But with the European discovery of wood-blocks 
and the art of printing, a new idea of wall-decoration 
was born. 

The real development of the wall-paper idea we owe in 
large measure to a group of men in France, called the 
Dominotiers, who may rightfully be credited with being the 
actual originators of decorated paper to be applied to walls. 

Any group of people who invent a useful art and labour 
patiently to perfect it is deserving of a place in the records 
of history. Yet, by some Strange neglect, full juStice of this 
sort has never been done to the Domunotters. 

In the case of glass and pottery, rugs and silks, the Story 
of the first beginnings has been handed down to us with a 
multiplicity of detail. The whole story of the Dom:noters, 
however, has never yet been told. Their work, perishable 


in its very nature, has not outlived them to help us by con- 
19 


20 HISTORIC WALL-PAPERS 


tributing its testimony. Their history can be traced only 
from original documents which are scarce and rare and not 
generally accessible. Locked up in the important libraries 
and archives of Paris and Rouen are mo&t of the manuscripts 
and books which throw any light on their activities. It 
has been an absorbing pleasure and a real labour of love to 
investigate and translate them in order to obtain authentic 
facts for this account of the Domuinotiers’ work. 

The industry which gave the Dominotiers their name was 
the making of ‘“‘domino papers,”’ which consisted principally 
of marbleized papers and again of others with little figures 
and grotesques, crudely printed from wood-blocks and col- 
oured by hand. ‘These ‘“‘dominos’’ were made in Rouen 
and in other cities in the provinces of France. The Domi- 
notiers were the workmen engaged in this industry. Some- 
times the men who produced the marbleized papers went by 
the specific name of ‘‘marbreurs.”’ 

So far as we know, the figured papers served one pleasant 
purpose. They were bought by the peasants as a decoration 
for their fireplaces. ‘The marbleized papers had other uses. 
Bindings for small brochures were made from them. _ Inside 
covers of books were lined with them. Special marbled 
papers in black and white were made for funeral prayer-books 
and other mortuary requirements. The manufacture in France 
developed quickly into a business of some importance. 

The making of marbled papers required no printing and 
no wood-blocks. It was done by “‘floating off” the colours 
on sheets of paper from the surface of water that had been 
specially prepared. AStonishingly artistic results were some- 
times obtained. | | Phe ' 

For the most part, vegetable colours were used in the 
process. Blue was made from indigo, well mixed with water 


BLOCK-—PRINTED PAPERS IN FRANCE 21 


on a Stone; red was made from flat lacquer, mixed with 
water that had been boiled with Brazil wood and a handful 
of quicklime ; yellow was composed of oxgall and dissolved 
ochre. Nearly all of the colours were mixed with oxgall 
before using. Both Savary des Bruslons and Robert Dossie 
in describing the process say that they were also mixed with 
brandy, or spirits of wine. 

With the exception of these materials, the equipment of 
the Domuinotiers was of the simplest description. It consisted 
of a square bucket or tub, made of oak, about six inches deep 
and an inch larger all around than the sheets of paper to be 
marbleized ; a churn and its dash, a hair sieve, “a little slack,”’ 
a large paint-brush and different sorts of ‘‘combs,”’ a dryer, a 
scraper, a knife; a Stone and grindstone to grind the colours ; 
several square Stretchers on which to dry the papers; and a 
polishing Stone, which was usually of fine marble. 

A naive and delightful formula of the old Domznotiers 
gives explicit directions about the use of these implements and 
the fashion in which the water is to be prepared to take 
the colours. 

It muS&t be fresh river-water, in which a certain amount 
of gum tragacanth (half a pound to each ream of paper) has 
been dissolving for three days. 

«When the water has all been Strained,” to quote the 
directions, ‘‘its Strength or weakness may be gauged by the 
greater or less swiftness of the movement of the froth that 
forms on its surface, when it is Stirred with a circular motion. 
If the froth spins around more than fifty times after one stir- 
ring, it is a proof of weakness; if it makes fewer turns, the 
water may be judged Strong enough.” 

Assured by this scientific teSt that the base was of the 
proper quality, the Domuznotiers took a big paint-brush or a 


22 HISTORIC WALL-—PAPERS 


feather in their hands and, dipping it into the prepared colours, 
let them drop from it lightly and with great care into the tub 
of. water. The blue came first. 


The blue thrown on the water forms a sort of carpet, 
covering equally the whole surface of the water where it spreads 
into branches and veins. Afterwards the red is thrown on 
this carpet, and pushes back the blue, takes its place and makes 
scattered spots. Next comes yellow, which has its own way 
of disposing itself on the other two colours. 

The white is put on next. If it is greedy and takes up 
too much room, it must be thinned out with water. If it 
does not count enough, add oxgall to it so that spots of white 
appear like lentils over the entire surface of the water. 

It is easy to tell that these colours are the right consiSt- 
ency, when they do not walk about too much — that is to say, 
when they fill only the space that they should occupy. 


After the colours had all been disposed on top of the 
water and formed a thick carpet upon it, ‘‘combs”’ were used 
to swirl this carpet about, forming sweeping circles and 
‘<shivers.”’ 

These combs were of wood with iron teeth, some of which 
were as large as the head of a pin, and some as fine as the 
finest needles. A great variety seemed to be necessary and 
evidently each one had its special utility. ‘The comb for 
making the papers called Monfaucon, Lyon, and Grand 


’ 


Monfaucon,”’ we learn, ‘“ has only nine teeth; the comb for 
the persillé has eighteen teeth ; and the comb for making the 
German paper has 104 or 105 teeth.” 

As the workmen held the combs so that the tips of 
the teeth just touched the water and slowly turned them 
around, the iron points dragged the colour into circling 
patterns in which all the different tones were Streaked and 


blended. 


28) 



























































Mearbreur de Papier . 








THE ATELIER OF A DOMINOTIER AND THE IMPLEMENTS USED IN MAKING MARBLEIZED PAPERS 





EARLY DOMINO PAPER, PRINTED IN 1700 BY DEFOURCROY OF PARIS 
(Musée des Arts Decoratifs} 


BLOCK-PRINTED PAPERS IN FRANCE 25 


A sheet of paper was then laid on the surface of the water, 
from which it immediately absorbed and took away the carpet 
of colour. The designs that had been made by the combs 
were, of course, transferred to it in the process. 

When dry, the sheets were polished on a marble slab 
with white or yellow wax and then assembled in quires of 
Psesuects, 

“If any are torn,” says the quaint old formula, “they 
can easily be mended with glue. As many kinds of marbled 
papers may be made as there are ways of combining the 
colours.”’ 

It is interesting to know that the edges of dictionaries 
and other volumes are marbleized to-day by exactly the same 
process used by the Domuinotiers three centuries ago. 

In the early seventeenth century, marbleized papers of this 
sort were very expensive, fine colours and fine specimens of 
design being highly prized by collectors. Pierre de |’ Estoile 
writes in his diary, December, 1608: ‘‘I gave to-day to M. 
du Pin a little book of Chinese paper covered with a very 
handsome marbleized paper which I kept a long time in my 
cabinet. I have another one juSt like it.”’ 

Again, in May, 1609, he writes, ‘I gave M. du Pin six 
sheets of my marbleized paper, very, very fine, which I had 
promised him. I know that he is a collector, like myself 
who always have a reserve in my cabinet.’ 

Unfortunately, none of the names of the earliest Domino- 
tiers, who worked between 1550-1600, have come down 
fo. us, 

As we follow down through the years, toward the end of 
the seventeenth century and the beginning of the eighteenth, 
we find that the firm of Le Breton, father and son, were 
specially noted for the making of marbled papers. 


26 HISTORIC WALL-PAPERS 


Papillon tells us that Le Breton has so perfected the proc- 
ess that he imitates marble more exactly with his papers 
than any one can do with a brush. He declares that he has 
seen sheets of marbleized papers from Le Breton’s hand, with 
threads of gold and silver mingled in the veins, that merit his 
admission to the Royal Academy of Fine Arts. 

Some of Le Breton’s lovelieSt marbles were made on 
“royal paper,” the size used for octavo books. ‘To these he 
added Stencil decorations of flowers and ornaments in dis- 
temper lacquer colours. ‘‘These papers were very pleasing, 
being polished as playing cards are polished, and they had 
quite a vogue up to the moment when ‘illuminated’ wall- 
papers took their place and they went out of favour.”’ 

In 1586 the “first and real Domuinotiers,”’ by permission of 
the King, combined with some wood-engravers to enlarge their 
industry, and formed a corporation or guild whose members 
were called ‘‘Dominotiers, Tapissters, and Imagters’’—Domino- 
tiers, because they were makers of domino papers, as we have 
seen ; T apissiers, because they made paper-hangings to use in 
“upholstering’’ walls ; Imagzers, because they had the right to 
print from rough wood-blocks ‘‘images’’ or portraits, or scenes 
from mythological fables or from the Old and New Testaments. 

It is quite natural that, from this time on, the word 
Dominotier should be generally used to describe the men who 
did all these various kinds of work. The public very quickly 
forgot that the name had heretofore been associated chiefly 
with marbled papers. 

Nicot, for example, in 1606 gives the following definition: 


Dominotier is he who makes and sells dominos, that 
is to say, pictures (images) and works of painted likenesses 
(pourtracture) both printed on paper and engraved on wood 
or on copper. 


BLOCK-PRINTED PAPERS IN FRANCE 27 


Popular scenes, or pictures, printed from wood-blocks, 
were perhaps the product of the Dominotiers next in favour to 
Domino papers. 

These ‘‘images,’’ as they were called in the sixteenth 
century, were the forerunners of the famous ‘‘ Images 
d’Epinal.” . They were eagerly bought by the peasants and 
the bourgeois to decorate their walls ; all the more so, because 
each one usually bore some printed explanation in the form 
of a title, legend, proverb, or popular saying, either in prose 
or in verse, ‘‘to make people laugh.”’ 

They might be compared in general Style to the comic 
supplements of our Sunday newspapers. Very likely they 
were not vastly different in effect, for they were coloured 
by hand in crude reds, greens, blues, and yellows. Local 
political events were sometimes caricatured, and sometimes 
more serious events of historical importance were portrayed. 
For the use of the Church the Domuinotiers were also accus- 
tomed to issue a great many religious pictures. 

The descriptions and legends printed on these images 
added greatly to their popularity, but involved the Domu:no- 
tiers in many difficult problems with the Guild of the Printers 
and Book Sellers, who considered the Domuinotiers and their 
Images an infringement on the Guild’s monopoly of the 
right to use type. 

Much legislation may be found in French archives 
concerning this weighty and important subject. In 1586, 
1618, and 1649, there are decrees obtained by the 
Corporation of Booksellers and Printers eStablishing exactly 
what sort of press the Dominotiers are permitted to use. 
It mu&t be limited to a certain size and must not on any 
excuse be the sort of press that can be used for print- 


ing type. 


28 HISTORIC WALL—PAPERS 


By the same decrees, the Dominotiers are put under the 
supervision of the Booksellers and Printers. They are for- 
bidden to make or sell any indecent pictures. They are also 
forbidden, under pain of confiscation, to possess any font of 
type that could be used for printing. 

The Dominotiers, then, were obliged to cut their descrip- 
tions by hand on the same wood-blocks on which they 
engraved their pictures — which muSt have been a difficult 
and laborious task. 

In 1686 there is a law that the Syndic, or Head of the 
Committee of the DiStrict, shall visit the workshop of the 
Dominotiers to see if they keep the rules. 

A slightly more liberal arrangement was made in 1723. 
This article, which is the XCVIIth in the regulations for the 
Booksellers and Printers issued by the State Council of the 
King, provides that, if the Domznotiers desire to put under 
their pictures and figures an explanation which is to be printed 
and not engraved, they may and shall have recourse to the 
printers to do it, but only on the understanding that such an 
explanation shall not exceed six lines in length, nor be put 
on the back of the prints and figures. 

The same article enjoins them to bring to the Chamber 
of the Corporation of Booksellers and Printers all the mer- 
chandise relating to their art which they import from foreign 
countries or from the Provinces of the Kingdom, so that it 
may be inspected by the Syndic and his representatives ; and, 
in order that those who make a profession of Dominoterie and 
Imagerie may be known to the Syndic and his associates, they 
are ordered to sign their names and their addresses in the 
register of the said community, under penalty of roo francs’ 
fine. ‘The registering of their names, however, did not 
authorize them to sell any book or books, nor to exercise the 


BLOCK-PRINTED PAPERS IN FRANCE 29 


profession of bookselling or printing in any way or under 
any pretext whatever. 

A ridiculous law was enacted as late as 1768, by which 
no printing of pictures whatever could be done by the Domz- 
notiers except in the presence of a master printer or of a deputy 
sent by him. ‘The work finished, the press was to be locked 
with a chain by the responsible person, who kept the key! 
The penalty for not observing this law was confiscation of the 
press and the printed matter, a fine, and Still heavier penalties 
in case of a repetition of the offense. 

It is scarcely surprising that, hampered by such re&trictions, 
the Dominotiers concentrated their attention on another ac- 
tivity which, like the making of marbleized papers, did not 
involve a conflict with any other guild. We find before 
long that their chief product has become wall-papers. 

At the same time, the Domino-makers carried on several 
other delightful fabrications, all of which were gay and 
amusing. ‘They printed and painted the papers that were 
used for games — black-and-white checked papers for the tops 
of chess-boards, and the sheets used for /oto and the jeu de 
Powe, something like our game of parchesi. They also made 
paper lanterns, ‘‘ which are put in the windows during public 
feStivals, and on which are painted coats of arms, fleurs de 
lys, dolphins, and other figures suitable to the occasion that 
causes a public celebration.”’ 

It is more than interesting to know the variety of allied 
occupations followed by this guild, for each one gives us a 
glimpse of the technique that was used in making the earliest 
papers destined to be put on walls. 

In general, all of this sort of work was done with wood- 
blocks, which the Dominotiers engraved themselves. ‘To get 
a block hard enough for their purposes, they used either 


30 HISTORIC WALL-PAPERS 


pearwood (foirier) or service wood (cormier). From these 
blocks they printed the outline of their design in black, 
filling in the colours afterwards by hand with a brush, either 
with or without the aid of Stencils. 

The first wall-papers made by the Dominotiers were called 
Papiers de Tapisserie (UpholStery Papers). 

Their designs were of the simplest and mo&t rudimentary 
sort — checks, stripes, squares, and lozenges, with small flowers 
—much the same designs that were being printed contem- 
poraneously on textiles and uphol&tery Stuffs. 

Accustomed to a certain size of paper for their pictures 
or images, the Domuinotiers used the same small sheets on 
which to print wall-papers, and sold them flat, in quires of 
25, or reams of 500 sheets. 

The usual size of these sheets is indicated by a paper of 
1700, of which there is an example in the Musée des Arts 
Decoratifs in Paris. In the margin is the name, ‘‘DEFOURCROY, 
marchand, cartier et papetier, rue Jacob, Faubourg St. 
Germain, Paris. The design is a beautiful composition 
of flowers, done on several sheets of paper glued together, 
each sheet being about 42 centimetres in height by 32 
centimetres in width, or about 16% inches high by 12% 
inches wide. 

We know from the various legislative acts already referred 
to that the Domznotiers had hand presses with which to print 
their ‘“‘Images.’’ It is, therefore, more than probable that 
they printed these small sheets of wall-paper in the same 
fashion. Any one who has seen hand-blocked papers made 
knows how this is done. The block, after being inked with 
the desired colour, is carefully laid in place face down on 


the paper which has already been put on the press. The 


>) 


workman. then swings around a lever and applies it on the 





BLOCK-PRINTED PAPER, LATE SEVENTEENTH CENTURY, WITH FLEUR DE LYS AND CROWN 


31 





LATE EIGHTEENTH CENTURY DOMINO PAPER, 1795-1800 RED-BROWN, GREEN-GREY, AND TAN. 
THE DIRECTOIRE STYLE IS CLEARLY INDICATED IN THE SMALL MEDALLIONS, WHICH 
CONTAIN FURNITURE AND POTTERY OF THE PERIOD 


BLOCK-PRINTED PAPERS IN FRANCE 33 


block, giving it enough pressure to print a clean-cut, well- 
defined impression. 

In various articles written on wall-paper, the Statement 
has been made that the blocks were laid on the table face 
up and damp paper Stretched upon them, over which a 
printer’s roller was passed, or on which an impression was 
obtained by use of the printer’s mallet. This was the 
method used for pulling proofs, but it was manifestly un- 
necessary to print all the papers in this fashion when the 
Dominotiers were supplied with a /evier or a press to do the 
work more easily. . 

After 1688, when Papillon pére and his imitators used 
blocks that were as much as three feet long, they were found 
too big for the presses and it was necessary to use the hand 
roller to obtain an impression. But in the last part of the 
sixteenth century and the first half of the seventeenth, the 
Dominotiers certainly employed their presses for this work. 

The idea of printing in colour from wood-blocks, however, 
does not appear to have occurred to them until much later. 
It is not until 1766 that we find the process generally em- 
ployed in France, in Holland, in Germany, and in England. 
No attempt was made in the earliest wall-papers to have the 
different sheets done in a design that would fit together when 
they were put up on the walls. The effect of such higglety- 
pigglety papers must have been curious, to say the least. 
Nevertheless they crept Steadly into favour. 

Country people who could not afford the luxuries of the 
court were able, by means of these cheap paper-hangings, to 
give themselves the illusion of having walls covered with silks 
or printed fabrics. 

The centre of the Domznotiers’ industry was in Normandy, 
where there were already a number of paper factories which 

3 


34 HISTORIC WALL-—PAPERS 


could supply them with the material for their work. Nor- 
mandy at the same time was also the centre of the allied 
industry of ¢oz/e peznte, or hand-blocked linen, in the printing 
of which many processes were similar to those of the Domz- 
notiers. In the history of French induStries, the two arts of 
papier peint and toile peinte are often mentioned together, as 
if their development went hand in hand. 

From 1586 until the end of the eighteenth century, the 
Dominotiers continued to make paper-hangings coloured by 
hand, although the secret of printing in colours from wood- 
blocks had been discovered and perfected nearly fifty years 
before the end of that period. 

Papillon describes the method of making these papers in 
his Treatise on Wood-engraving in 1766: 

‘In Rouen and in other places, they are making ‘domino 
papers,’ of which we should say nothing here if it were not 
necessary to make known the fact that these papers are not 
printed ; their different colours are put on with the brush by 
means of cut-out patterns (Stencils) in the same way in which 
playing cards are coloured. The only thing printed in this 
sort of paper is the outline of the design, which is engraved 
on wood. 

‘This method of putting on colours by Stencil with a brush 
always produces a certain untidy result; either the colour 
runs over the edges of the cut-out patterns and smears the 
paper in this spot; or the slipping of these patterns (which 
it is almost impossible to hold absolutely firm with the hand) 
brings them out of place, and some parts are covered with 
colour where there should be none, while others which 
should be covered are not. 

‘‘Besides, these dominos are made only with distemper 
colours, without any attempt at shading.” 


DEOCK-PRINTED PAPERS IN FRANCE ~§ 35 


The process of colouring these papers by hand was called 
‘lluminating’’ them. For the moSt part, coloured inks or 
water-colours were used, mixed with glue, since it was found 
that such a mixture did not easily spread or rub off. To 
this day, the French word for wall-paper is papzer peznt, 
* which is a direct inheritance handed down 
from the old Domunotters. 


“‘painted paper, 





‘ear 





CHAPTER III 


PERIOD I 
THE FIRST BLOCK-STAMPED PAPERS IN ENGLAND 
HUGO GOES WILLIAM BAYLY 


EIGHTEENTH CENTURY PAPER-STAINERS 





CHAPTER III 
PERIOD I 
THE FIRST BLOCK-STAMPED PAPERS IN ENGLAND 


HE earliest decorative papers that have been found 
in England date back to the beginning of the six- 
teenth century. 

Only a few years before the late war, during the process 
of reStorations in Christ’s College, Cambridge, discoveries 
were made that are of particular interest in this connexion. 
We cannot do better than quote the narrative of one who 
was on the spot. 


On the afternoon of May 23, 1911, the Master of Christ’s 
sent me a message asking if I could call on him. When I 
arrived he told me that in the work of restoration at the 
Lodge the workmen had found the original beams of the 
ceiling of the entrance hall covered with a paper of a black 
and white design, on the other side of which there appeared 
to be some early printing. The Lodge had been completed, 
or nearly so, by the end of 1509, so that I was prepared for 
anything. We were not able to go to the Lodge until after 
six o'clock, when the workmen had gone, and when we 
opened the doors, we found that all the paper, or nearly all, 
had been cleared away. It is easier to imagine than describe 
our feelings; but luckily we found that Mr. Kett, who was 
carrying out the reStorations, had very carefully preserved 
every fragment which had been removed. It was important 
to recover the pattern of the design, for which it would be 
necessary to employ a careful draughtsman, and Mr. Edwin 
Wilson undertook the task. The equally delicate operation 
of removing the more recalcitrant fragments on the joists 
was entrusted to a Mr. A. Baldrey, of the University Library. 
On the following day it appeared that not only the beams of 

39 


40 HISTORIC WALL—PAPERS 


the hall, but those of the dining-room also, had been covered 
with this Stamped paper, and eventually every scrap that 
could be saved was carried off into safe custody at the Uni- 
versity Library. The design appeared to be printed from a 
wood-block, and on the verso was English black letter print- 
ing of the type, apparently, of Wynkyn de Worde or Pynson. 

One of the fragments which we looked at contained a 
poem on the death of King Henry the Seventh; and very soon 
we found that on the recto of a great mass of the paper, on the 
side which had been affixed to the beams,was a proclamation 
announcing the accession of King Henry the Eighth. . . . 

Such briefly was the nature of the find, and I believe that 
it is of sufficient interest to set out an account of each of these 
objects in detail. FirSt it must be understood that it was quite 
out of the question to leave the paper in position. The paper 
had perished where it had not been covered with the ink ; and 
it was owing no doubt to some quality of the pigment, oily or 
otherwise, that anything was Still left. ‘The design was printed 
from a single wood-block, measuring 16 by 11 inches, and con- 
sisted of a conventional pine-cone centre, surrounded by Strap- 
work and flourishes. In the middle of the border of the long 
sides is the mark of the artist, a Lombardic ““H” Oneness 
and a bird, facing to the spectator’s right, on the right. The 
design is Venetian in character, but who is the artist? 

There can be little doubt that he was none other than 
Hugo Goes, whose work is described in Herbert’s Typo- 
graphical Antiquities, Vol III, p. 1439. 

Hugo Goes, it appears, made his ‘‘mark, or rebus, of a 
great H and a goose.’’ He was living in Steengate, York, 
and printing there in 1 509. 

It is possible to claim that we have here the earliest 
known example of paper with a Stamped design, in use for a 
decorative purpose in England. ‘The earlier custom was to 
use a Stencilled pattern on the surface itself. . . . Speci- 
mens of block-Stamped paper in use in Europe during the 
fifteenth century are Still preserved in some of the collections 


Al 





PATTERN STAMPED IN BLACK USED FOR A BEAM 
PAPER AT CHRIST’S COLLEGE, CAMBRIDGE, IN 
OR ABOUT 1509 





FRAGMENT OF A STAMPED LINING PAPER WITH DESIGN OF THE 
TUDOR ROSE 


Late seventeenth century. (Courtesy of Victoria and Albert Museum) 





15001575 


IN REPEATED PANELS. 


ETC., 


SHEET OF ELIZABETHAN WALL-PAPER WITH DESIGN OF THE ARMS OF ENGLAND, 


(Courtesy of Victoria and Albert Museum) 


Pasted on the original wattle-and-dab wall. 


Removed from an old house at Besford, Worcestershire, the property of Sir George Noble. 


BEOCK-3SVTAMPED PAPERS IN ENGLAND 43 


and are reproduced in T. O. Weigel and A. ZeStermann’s 
‘““Anfange der Druckerkuns,”’ published in 1866. 

Another discovery of this same sort was made during the 
restoration of the fifteenth century Kentish House, known 
as Borden Hall. Mr. Edwin Foley says, ‘‘ Portions of the wall- 
paper were discovered behind wainscot and battening in one of 
the rooms. The tough paper was nailed with flat-headed nails 
to the daubing or plaster, filling the space between the timber 
uprights. The design . . . suggeSts Indian influence ; possibly 
the blocks were cut for cotton printings and the impressions 
struck off on paper were deemed so satisfactory that sufficient 
was printed for the apartment at Borden Hall.” 

The date of the first patent for making wall-papers in 
England is 1692, during the reign of William and Mary. 
This fixes the exact time of the beginning of a recognized 
wall-paper industry. 

Earlier attempts to make imitations of tapestry, velvet, 
silk, linen, and cotton hangings were executed not on paper, 
but on Stuffs of one sort or another and therefore cannot be 
classified as part of the paper industry. 

The record in the London Patent Office of this historical 
patent reads as follows: 

Whereas, William Bayly, hath by his humble peticion 
represented unto us that he hath by his industry and his great 
expence found out and invented, ‘‘A New Art or Invention 
for Printing all sorts of paper of all sorts of Figures and 
Colours whatsoever with several Engines made of Brasse and 
such other like Metalls, with Fire, without any paint or 
§taine, which will be ussfull for hangings of rooms and such 
like uses, and that the said Invention hath not been hereto- 
fore known or practised by any of our subjects, and hath 
humbly prayed us to grant him our Letters Patent for the 
sole use thereof,”’ etc. 


44 HISTORIC WALL-PAPERS 


Nothing further is heard of this invention, in the history 
of English paper-hangings. Evidently it did not have the 
great influence expected by its inventor. It may have been 
one of the attempts in practice to imitate the Chinese papers 
that began to come into the country during this reign. 

The Dominotiers’ methods of marbleizing paper were ap- 
parently also in use in England at this time, for an advertise- 
ment in The Postman speaks of papers in imitation of marbles, 
for parlours, halls, and Staircases. 

Twenty years after William Bayly’s patent, wall-papers 
were taxed by the government a penny a square yard, an 

- amount which, in 1714, was in- 
creased to one and one-half pence. 

In 1715 every sheet of the 16 
to 24 small pieces pasted together 
to form a roll received a govern- 
ment penny Stamp, with an addi- 
tional Stamp on each of the two 
ends. The paper-Stainers were also 





obliged to pay the sum of £ 4a 
_ year for an annual license. 

By the end of the eighteenth 
century the French invention of so-called ‘‘endless paper” 
had been made. John Gamble obtained the English patents 
for this invention in 1801 and 1803, but English paper-Stainers 
were not allowed to adopt it until about 1830, because of the 
important revenue derived by the government from the tax 
Stamp on small sheets. English manufacturers were greatly 
hampered by these reStri¢ctions; the French in the mean- 
time were using paper without seams or divisions. 

Between 1779 and 1824 the importation of paper- 
hangings into England was entirely prohibited. This re- 





LINING PAPER WITH THE ARMS OF THE HABERDASHERS’ COMPANY AND THE INITIALS G. M. 
First half of the seventeenth century. (Courtesy of Victoria and Albert Museum) 


(uinasny Waqty Pue e110}! A yo AsaqIN0D) 
SYOOTA-GOOM WOW GALNIUd ‘6091 WOW ONLLVA LNAWOVUA ‘WAdVd ONINTT 


ae 


_ Eat dela 





BLOCK-STAMPED PAPERS IN ENGLAND 47 


striction was not lifted until 1825. That its removal resulted 
in a great increase of the wall-paper induStry, may be seen 
from the accompanying table. The influx of French paper- 
hangings that came with its repeal allowed the English to 
make comparisons of foreign wall-papers with those printed 
in their own factories and so Stimulated a greater production. 


DUTY PAID BY PAPER-STAINERS 
In Addition to Duty on Plain Paper at 3d per Pound 


YEAR £ te Tk YEAR ee ifs d 
UW ke Ss ao Rea by ache La 120 ene. 344240 180m V4 
Page eee ee Ricg5 ces A: 3 BR Gee a pare tt 44,835 4 9 
Do) Sere Sten hie 2 ss 19,204 18 8 LOG pen tari ee. 53,986 6 5 
che ee), 2 rae Pago Veen ss v4 Re Rie ha ae a See 63.705) 616 9 
ROOD oi ge rere 32,2205 e185 Zz 


The amount of wall-paper produced in 1770 in England 
was 255,731 pieces. A large quantity of this product was 
exported to the American Colonies. Forty years later a single 
firm in England produced in one year 12,000,000 pieces 
of wall-paper. 

Among the interesting English patents taken out during 
the eighteenth century are several that announce new methods 
and new products. 

In 1753 Edward Deighton obtained a patent for ‘an 
entirely new method of manufacturing paper for the hanging 
and ornamenting of rooms.’”’ He used etched or engraved 
plates of metal. The design was impressed under a rolling 
mill and then painted or coloured by hand, with brushes that 
were called “‘ camall-hair pencils.”’ 

In 1754 Jackson of Battersea, whose work is more fully 
described in Chapter VIII, published an essay on the inven- 
tion of engraving and printing in chiaroscuro as applied to 
paper-hangings, and in his factory at Battersea carried out these 
ideas in his Statues and Venetian panels and Italian landscapes. 


48 HISTORIC WALL-—PAPERS 
In 1792 Anthony G. Eckhardt patented a method for 


laying composition or paint on paper and other materials, 
for receiving the impressions of engraved copper plates. 
In 1793 Francis F. Eckhardt took out a patent for “ 


paring and printing paper in different patterns and silvering 


pre- 


it over with fine silver leaves so as to resemble damask, lace, 
and various silk stuffs, to be used for hangings and other 
furniture for rooms.” 

The Eckhardts eStablished a factory in Chelsea in 1786 for 
printing designs on silk and linen as well ason paper. ‘‘Only part 
of the design was given by printing; the rest was put in by ar- 
tists specially retained, assisted by more than fifty young girls.” 


Simultaneously with the eStablishment of the Chelsea 
works, Mr. Sherringham commenced the business which he 
so long carried on with remarkable taste, skill, and energy in 
Great Marlborough Street. He secured the talent of some ad- 
mirable foreign artists (La Briére, Boileau, Louis, and Rossetti) 
and infused the highest beauty and grace into the artistic de- 
partment of his trade. He was the first to produce what are 
known as Arabesque papers with any degree of excellence. 


Sherringham is known in England to-day as the Wedg- 
wood of paper-Stainers. 

Harwood, an eminent paper-Stainer, also had a factory 
in Chelsea at this time. 

In 1796 John Gregory Hancock applied for a patent for 
paper ornamented by embossing and enchasing. 

Further data about the early use of paper-hangings in 
England do not exist. That the manufacture was an important 
one may easily be inferred from the figures that have been given. 
It is unfortunate that fuller records have not been kept to give 
us more information about the men who were interested in 


this industry and the character of the papers produced. 


CHAPTER IV 


PERIODS 


PAPER IMITATING TAPESTRIES AND WOVEN 
STUFFS, 1620-1780 


LE FRANCOIS OF ROUEN DIDIER AUBERT 
JEROME LANYER OF LONDON LANCAKE 
TIERCE LECOMTE 


os 





CHAPTER IV 
PERIOD II 


PAPER IMITATING TAPESTRIES AND WOVEN 
STUFFS, 1620-1780 


N THE Middle Ages, tapeStries had been the preferred 
wall-coverings, partly because they could be easily trans- 
ported and carried about with the few rare pieces of 

furniture that always accompanied a family when it moved 
from place to place. In the fifteenth century, Stamped 
leather replaced some tapestries, since it was found to give 
a cooler effect in summer and at the same time helped to 
confine the heat in the big rooms during the winter months. 
In the early seventeenth century rich brocades and damasks 
covered the walls. 

The use of all these costly materials was of course reserved 
to a certain class of people of wealth and position. When 
the middle classes wished to imitate the example set them 
by the fine dwellings of the court and the nobles, they were 
bafHed by the queStion of expense. No subStitute existed 
which would give them the effect they sought for at a 
moderate price. 

At this moment a simple artisan of Rouen named Le 
Frangois conceived the idea of making flock papers that 
would take the place of tapeStries and woven Stuffs. 

It is in 1620, the year the Mayflower sailed for America, 
that we find Le Frangois launching his new invention. He 
is described as a papetier (paper-maker) and gainier (sheath- 
maker). It is believed that specimens of painted paper 
brought back from China by missionaries inspired him, 


made him enthusiastic, and influenced him to found his 
SI 


Be HISTORIC WALL—PAPERS 


wall-paper factory. Whether or not this is true, it is indis- 
putable that Le Francois originated an idea to apply to the 
making of paper which had never before been utilized. 
Like mo&t successful inventions it was very simple in its 
elements. It consisted in printing the designs, not with ink 
but with a mordant, or greasy varnish. Over this the work- 
men shook powdered wool in different colours, which Stuck 
to the mordant and covered the design. The superfluous 
wool was then shaken off and a perfect imitation of brocaded 
velvet was left. The designs, being raised above the surface 
of the paper, gave the aspect of velvet, not only to the eye 
but to the fingers. 

Since the chopped wool used for these papers was obtained 
from the shearing of cloth (toute) the new papers were gener- 
ally called by the name papiers tontisses or ‘‘ papers made of 


’ 


shearings.”” ‘They were also knownas paprers veloutés, “‘ velvet 
papers,’ and papiers souffés, or ‘blown papers’”’ because the 
powdered flock was sometimes blown on them with a sort 
of small bellows. 

In comparison with the cost of Genoese velvets and 
tapestries, the cost of these flock papers was trifling, while 
their effect on the wall was sumptuous. It was not long 
before they attracted the attention of an English manufacturer 
named Jerome Lanyer, who applied to Charles I in 1634 for 
the exclusive right to manufacture flock hangings in England. 

In the Patent Office in London is a record of the trans- 
action. 


Whereas our truly and well beloved subject and servant, 
Jerome Lanyer, hath informed us that hee by his endeavors 
hath found out ‘ An Arte and mySterie by affixinge of wooll, 
silke, and other materialls of divers cullours upon linnen, 
cloath, silke, cotton, leather, and other substances, with oyle, 





EARLY LOUIS XIV ALL-OVER FLOCK PAPER 
Cream ground with design in greyish brown 


53 


ear 


by 


‘ 


prt 





PANEL OF FLOCK PAPER FROM HURLCOTE MANOR, EASTON NESTON, TOWCESTER 
Early eighteenth century, English showing Chinese influence. (Courtesy of Victoria and Albert Museum) 


PAPER IMITATING TAPESTRIES 55 


size, and other ciments, to make them usefull and service- 
able for hangings and other occasions,’ which hee calleth 
Londrindiana and that the said arte is of his owne invencion, 
not formerly used by anie other within this realme, etc. 


Lanyer probably was unable to make his flock hangings 
on paper because there was not at the time any English- 
made paper Strong enough to use. It was late in the seven- 
teenth century before serviceable paper was manufactured 
there. We find in 1685 the record of a patent taken out 
by John Briscoe for ‘‘Making English paper, as white as any 
French or Dutch paper, and as good and as serviceable in 
all respects,”’ 

Fifty years later, however, the process was being used in 
England on a paper ground. In 1702 Dunbar of Alderman- 
bury was advertising flock papers, ‘‘some on pieces of twelve 
yards long, others after the manner of real tapestry, others 
in imitation of Irish Stitch, flowered Damasks, Sprigs and 
Branches; others yard wide in imitation of marble and other 
coloured Wainscots, others in yard wide Embossed work, 
and a curious sort of Flock work in imitation of Cassaws 
and other hangings of Curious figures and colours—as also 
Linen Cloath, Tapestry Hangings with a variety of Skreens 
and chimney pieces and sashes, the windows as transparent 
as sarconet.”’ 

The variety of English paper-hangings at this period is 
eStablished by such advertisements. It is evident also that the 
small sheets of paper in general use were joined up before being 
printed, and that the designs were largely influenced by the 
velvets, damasks, and embroideries of an earlier period. 

In France the manufacture of flock papers was conducted 
by the son of Le Frangois for more than fifty years with 
honour and ability. It is said that he could scarcely turn out 


56 HISTORIC WALL—PAPERS 


enough to satisfy the demands in his own country and to 
export to Germany, Italy, and England. Some of his work- 
men, seeing the popularity of his products and hoping rapidly 
to acquire brilliant fortunes, went to England to bring out 
imitations of their master’s work. Their chief success was 
in reproducing brocatelles on blue or gold grounds. 

As M. Clouzot says in his preface, the first generation 
of flock papers in France died out before they were in general 
use. The ‘‘illuminated papers’’ of the School of Papillon 
and his imitators succeeded them. For fifty years or more 
the French forgot the papers made of chopped wool. But 
in 1750 England suddenly began to ship flock papers back 
to France, labelled as an English invention, and they took 
the fashionable world of Paris by Storm. 

While Paris had been following other ideas of wall deco- 
ration, the manufacturers of England had worked Steadily 
to improve and develop flocks, and arrived at such a State of 
perfection that their papers were matchless in colour and 
execution and design. 

It is probable that the flock papers formerly in Hampton 
Court, but now unfortunately removed from the walls, date 
from this period, although some of them were made in Tudor — 
and Elizabethan designs. ‘There has been great discussion 
over their exact age. Since it was found upon examination 
that the paper on which they are printed is in one continuous 
length, it is fairly certain that they could not have been as 
early in origin as was formerly supposed, 

The magnificent old flock paper in a large damask 
design, which is in the Governor Wentworth mansion in 
Portsmouth, New Hampshire, was made in England about 
this time. 

The influx of English flock papers into France caused 


PAPER IMITATING TAPESTRIES (sy 


great excitement, in the world of those who made papers as 
well as in the world of those who used them. 

A native of Rouen named Tierce came forward to vin- 
dicate the honour of his country. He proved that the Sieur 
Le Francois had discovered the art of making this kind of 
paper and confirmed his proof by blocks belonging to the 
inventor, dated 1620 and 1630. 

Tierce himself was perhaps the successor of the son of 
Le Frangois. In any event he imitated the master in a mar- 
vellous fashion, making all sorts of landscapes and Storied 
papers ; even copying paintings and arranging that the mixture 
of the wool corresponded exaétly to the colour of the mixture 
of the paints. 

It is well worth noting this early attempt to make land- 
scape papers, to which we shall refer again when we take up 
the epoch of scenic papers at the commencement of the nine- 
teenth century. 

Jean Michel Papillon in his Treatise on Wood Engraving 
claims to have seen one of these early flock hangings, belong- 
ing to Prince Léon, in a dining-room of his Chateau de 
Bruyéres, not far from Paris. ‘‘It represents a comic repast 
of monkeys and apes, dressed in all sorts of fashions. The 
colours were not nearly so brilliant as those found in the 
beautiful flock papers of England.” 

To insure greater durability to these designs in chopped 
wool some of them were executed on canvas. We hear of 
tontisses so durable that they were used for the uphol&tering 
of furniture. 

What suddenly created the mode for flock papers in 
France in the middle of the eighteenth century? 

Perhaps it was the example of Madame de Pompadour, 
who exerted such an influence on the taste of her time. 


58 HISTORIC WALL-—PAPERS 


In 1754 she had ‘‘English paper’’ hung in her dressing-room 
and in the corridor that led from her apartment to the chapel 
in Versailles. In 1758 she put the same paper on the walls 
of her bathroom in the Chateau de Champs. 

By 1760 ‘English blue paper’’ was the rage. This was 
nothing more nor less than flock paper made on a blue ground. 
If we can believe Madame de Genlis, who wrote so fully 
about the doings of her day, Anglomania of all kinds possessed 
the French at this time. ‘‘The ladies wear only robes 
a l’Anglaise,’’ she writes. ‘‘They are selling their jewels to 
buy English glass. ‘They even relegate to Storage their 
magnificent Gobelin tapeStries to put English blue paper in 
theiteplacess 

One of the English flock papers of the early eighteenth 
century which is preserved in the South Kensington Museum 
is illustrated here. Distinctly Chinese in design, it has a 
decorative and imaginative quality that doubtless made a 
strong appeal to the French and English amateurs who were 
indulging their tastes for Oriental porcelains, lacquers, and 
Eastern bibelots of all sorts. 

French manufacturers were clever enough not to resiSt 
this English invasion. They already knew Le Frangois’ 
secret of making fonfesses and they had no difficulty in falling 
in with the taSte of the day. In 1753 Simon asked for a 
permit to produce papers representing landscapes and verdures, 
made by means of chopped wool. In 1754, the engraver 
Roquis, rue de Cloitre St. Germain, announced that he had 
the secret of making the “cloth paper of England.” The 
following year Aubert, from his shop called ‘‘Au Papillon,” 
informed the public that he made papers juSt as beautiful and 
just as perfect as the English papers. Garnier of the rue 
Quincampoix, in the Hotel de Mantoue, made the same 


PAPERS IVMGEA TING TAPESTRIES 59 


announcement in the year 1762. Jacques Chereau, an en- 
graver, made screens, fire-screens, and other things from papiers 
tontisses. Jacques Gabriel Huquier & Cie, on the corner of 
the rue des Mathurins, set up in the environs of Paris a manu- 
factory of wall-papers imitating those made in England. 

At this same moment, an Englishman named Lancake 
obtained permission to eStablish at Carriéres, near Paris, a 
manufacture of English papers, whose general dépét was rue 
St. Antoine. 

Silk waste was used about this time in place of wool to 
make flock papers. About 1750 the Sieur Lecomte of Lyons 
brought out shaded silk flocks in which different tones were 
harmoniously blended. Le Mercure of 1764 says that these 
papers imitated the fineSt silks that came from the looms of 
Lyons. L’ Année Littéraire of 1769 describes them as follows: 


Their colours are varied, and shaded with great art. In 
one kind, there are bunches of roses and flowers of every sort, 
which produce a most agreeable and dignified effect ; in an- 
other, there is a Striped ground with little bouquets, between 
which is a ribbon that unites all the designs and weaves in and 
out most gracefully. In Still a third, there are Chinese me- 
dallions, with small people giving aconcert. There are others 
more suitable for dressing-rooms and boudoirs, in Stripes and 
in self-coloured designs, with baskets and garlands of flowers 
arranged in the most gallant fashion. 

The price of these papers is fixed, and they are not to be 
bargained for. The Striped designs and ribbons are 25 sous 
a yard; the rose on satin ground, 35 sous; on moiré ground, 
49 sous; the Chinese concert, 45 sous. The width of the 
rose pattern is 15 pouces and 5 lines; that of the ribbon 
design, 19 pouces and 3 lines. All the others are 20 pouces 
wide. 

These papers take the place of Stuffs that cost 60 or 80 
francs a yard, and if Stuffs last better, at leaSt they fade juSt as 


60 HISTORIC WALL—PAPERS 


quickly as these papers, and when a Stuff has loSt its colour it 
matters little whether it is worn or not. 

The difficulty that is sometimes met with in matching up 
furniture coverings to these papers has given Sieur Lecomte 
the idea of executing his designs on linen. It has been a per- 
fect success. It seems as though the process would also be 
practical on satin and taffeta. 


Lecomte unfortunately died soon after eStablishing his 
factory. It was carried on for a time by his widow, who in 
1760 opened a bureau in the rue des Prouvaires in Paris, oppo- 
site the rue des Deux Ecus. The business was not, however, 
of long duration, for the popularity of flock paper was already 
on the wane. 

Flock papers made from cloth shearings were not subject 
to the ravages of moths, like tapeStries, because of the prepa- 
ration they received, turpentine being mixed with the mordant 
as a special precaution against this damage. 

We learn from an advertisement printed by Didier Aubert 
in 1755 the exact method used in putting fontzsses on the wall. 
All that was needed was a piece of Stout linen, which might 
already have been used for some other purpose, a frame of four 
sticks, called a chassis, that fitted the space where the paper 
was to be placed, and some ordinary brown paper. The chassis 
was first nailed to the wall and the linen Stretched over it. 
On this the brown paper was paSted, and when this was dry 
the fontisse was applied. 

Sometimes a complaint was made that the price of flock 
paper was misleading. It coSt so much to put on the wall 
in the fashion described that its original price had ‘<a false 
appearance of cheapness.”’ 

With the increasing popularity of flock paper in France, 
came laws to protect it against foreign competition. The 


FRENCH FLOCK PAPER OF 1795 
Pale-green background, the design in black velvet. 


Vase and flowers outlined with orange. 
other parts of design 


Pale yellow and lilac used in 


O61 












i Gi 


” 















te 


‘ SNE i Ae, ny 
~ auido eae meth 


i me Ve ws > 
2 Netiictd Sched eke eth La. a ae Germer te Oo ke oe 


Fg ato 
Sie 





FRENCH FLOCK BORDER OF 1840 
Architectural design to be used as a cornice. Grisaille with background of orange-red 





EMPIRE FLOCK BORDER OF 1810 
Colours, strong and vivid; background, red, the roses, pink and white with yellow centres, leaves, bright green. 
The twisted drapery border, also bright green, runs through pink rings 


A hv ene Go TAPES TRIES 63 


State Council of the King issued the following decree on 
Pecemvel, 17 > 5. 

The King, being informed that in his Kingdom several 
factories have been eStablished to make a kind of material from 
the shearings of cloth, or from chopped wool, which is fixed 
by a mordant ona ground either of toile or of coloured paper 
in different designs, called, when on toile, fontisse ; when on 
paper, papier tontisse; and His Majesty, wishing to favour 
these factories and others which may be eStablished, and to 
assure them of preference over foreign tontisses, hath ordered 
and doth order that in the future, from the day this notice 
appears, tontisses and papiers tontisses which come from abroad 
shall pay at their entry into the Kingdom twenty francs the 
hundredweight. His MajeSty wills that tontisses and papiers 
tontisses exported to other countries shall pay only twenty sous 


the hundredweight. 

The process of making fontzsses is described in an interest- 
ing way in the Manuel Roret of Lenormand, published in 18 56. 

The cloth shearings mut first be bleached, since they will 
take the dyes better if they are inthe white. This is done by 
washing them and subjecting them to a sulfuric acid bath. 
They are then dried and dyed in the desired colours, and after- 
wards ground very fine ina machine that resembles a tobacco 
grinder, and sifted, to be sure that every part is of the same 
fineness. 

The paper is then printed with the design in greasy varnish. 
While Still wet, it is powdered with wool, shaken to remove 
the superfluous powder, and hung up to dry. This process 
resulted in covering the entire paper in one shade of colour. 
To obtain shadows, the earlier method was to put on darker 
colours with a brush. Later methods applied distemper col- 
our with wood-blocks over the wool design. High lights 
were obtained in the same fashion. 


64 HISTORIC WALL—PAPERS 


For nearly twenty years during the eighteenth century 
flock papers enjoyed an unprecedented vogue in France. 
About 1780 there was a reaction, which is noted by Costant 
d’Orville,in his Mé/anges Tirées d'une grande Bibliotheque(1799). 

The Petites Affiches of that time were brimming with ad- 
vertisements from people who wanted to get rid of their papzers 
tontisses. ‘The fashionable world consigned its imitations of 
velvet and damask to dressing-rooms and to the small rooms 
in country houses, 

But the wall-paper habit by then was fixed. ‘The looms 
of the Beauvais and the Gobelins had to reckon with it as a 
rival. ‘The artist painters and decorators were soon to realize 
also that it possessed the possibilities of superseding their work. 





FRENCH FLOCK BORDER OF 1790 
Background of olive-green. Flowers, white. Leaves, black and blue-green 











ENGLISH FLOCK BORDER 
Garter pattern in violet, pink, and green 





.% 
~*~ 


#4. 


a ee, 


~ ‘~~. 


Se ee 





EIGHTEENTH CENTURY WALL-PAPER OVERDOOR 
Owned by Mrs. George Fales Baker, Jr. 


CHAPTER V 


BERIODSITI 
PAPERS IMITATING PRINTED FABRICS 
1688-1795 


JEAN PAPILLON AND HIS COLLEAGUES 








. 


CHAPTER V 
PERIOD III 
PAPERS IMITATING PRINTED FABRICS 


HE period of flock papers, beginning in 1620 and 
declining about 1780, overlaps the period of papers 
imitating printed Stuffs, so that we must retrace our 

steps a short distance to connect the threads of wall-paper 
history. Let us go back as far as the Master Dominotier, 
Jean Papillon, who was born in 1661 and who, during his 
lifetime, gave an impetus to the making of wall-paper that 
put it in the foremoSt rank of the artistic and commercial 
products of France. 

A new idea of printed Stuffs and printed papers came into 
England and France during Papillon’s time with the opening 
up of trade with the East. The Portuguese, at the end of the 
fifteenth century, had passed the Cape of Good Hope and 
opened a route to China and India. Their commerce brought 
out scattered Chinese and Indian merchandise ; after them the 
Dutch eStablished a European traffic hitherto unknown. Their 
first voyage was made in 1597. In 1600 Queen Elizabeth 
by Royal Charter created the English EaSt India Company. 
The French Company was eStablished in 1660, but an active 
commerce did not begin until 1697. 

Europe was inundated with a flood of printed cottons as 
a result of the importations made by these companies, and 
fashion was Strongly in their favour—so Strongly, indeed, that 
the French Ministers began to fear disaSter for the silk in- 
dustry of France. It is significant that, in the same year in 
which the French East India Company is founded, a decree 


is passed forbidding the fabrication or importation of printed 
69 


70 HISTORIC WALL-—PAPERS 


Indiennes and cottons. This did not stem the tide, however, 
and similar edicts were put forth ineffectually at various times 
during the next half-century. It was not until 1759 that free- 
dom to make printed cottons in France was granted. ‘Thirty 
years later, there were already more than 100 fa¢tories in 
the kingdom, that of Oberkampf, at Jouy, being the most 
important, 

Meantime it was left for paper to reproduce the designs 
of these coveted Stuffs to put on the walls during the early 
years of the eighteenth century, and paper fulfilled the task 
most charmingly, creating all sorts of textile designs with 
flowers, sprigs, Chinoiseries, and Indian patterns, of which some 
of the moSt delightful are traceable directly to Papillon’s hand. 

The earliest Dominotiers, as we have seen, made no attempt 
to produce wall-papers in a continuous repeating design that 
matched on all sides when the small sheets were put together 
on the wall. Jean Papillon was the first to accomplish this. 
In this sense, he is the real inventor of wall-paper as we know 
it to-day. The papers designed in this new way were so much 
more attractive than any printed before his time that the idea 
was quickly seized upon and copied by others engaged in the 
same industry. 

Two of Papillon’s famous designs are reproduced here. 
They show the attempt to imitate the painted Chinese papers 
that were coming into England and France at this time, and 
they give the effect of printed cretonne when the flowing 
pattern is matched and put on the wall. 

Jean Papillon was one of the old-time craftsmen who 
comprehended and exercised every detail of his métzer. He 
was both an artist and a thoroughly competent business man, 
He not only knew the theory of each process in the making 
of wall-paper—he could and actually did carry out the whole 





Ss 


> 


AN ORIGINAL PAPER OF PAPILLON 


Used in panels in combination with pine, in the hou 


Sutton Place, New York City 


se of Miss Elizabeth Marbury, 


72 


Ca 


~s\ ‘3 WN apes 
a ; SN; aes: 
SUAS NY 


of 





PAPILLON WALL-PAPER SHOWING THE CHINESE INFLUENCE OF 
THE CENTURY 
The yellow, black, and red are printed; the blue and green are done with a brush. Size of 
sheets 42’’ high by 21” wide 


PAPERS IMITATING PRINTED FABRICS 73 


work himself. First he made his designs, next he engraved 
them on wood-blocks with great skill, then he printed and 
coloured the papers. After that he sold them and went to 
his clients’ houses and put them in place himself. Imagine 
the consternation of a wall-paper manufacturer of to-day who 
found himself confronted with the necessity of performing 
each and every one of these separate tasks ! 

The simple biography of Jean Papillon, written by his son 
and included in his Treatise on Wood-engraving, gives us a 
glimpse of the personality of the man. 


My late father, Jean Papillon, was one of the most ex- 
pert wood-engravers of his time. He was the son of the old 
Jean Papillon whom I have juSt mentioned, and was born in 
St. Quentin in 1661. At the age of two he was taken to 
Rouen and brought up with his grandfather, and after that 
he came to Paris to his father’s house. His father put him to 
Study with Noel Cochin, a clever etcher of small battle scenes. 

After he had lived for some time with Cochin, who was 
so fond of him that he made him compose battle scenes, 
sieges, etc. (which Cochin engraved himself to encourage 
my father), he was apprenticed to a man named Barberot, a 
draper, who conducted a business in patterns for laces and 
furnished pen designs for embroideries on linen, and the de- 
signs called Marseilles for petticoats. 

My father had already, while with Cochin, begun to do 
wood-engraving of his own accord, although he had never 
had more than two or three lessons in this art. Since it had 
been arranged with Barberot that he should design a petti- 
coat a day and be free the reSt of the time to work for him- 
self, he invented the idea of engraving on wood the patterns 
of these petticoats and of Stamping the designs from the 
block. By this method he was able to finish two petticoats 
in two hours’ time. So, while working for the benefit of his 
master, he also had a great deal of time for himself. This he 
employed in perfecting himself in designing and in doing 


74 HISTORIC WALL-PAPERS 


delicate wood-engraving, for which he felt a liking anda talent. 

In 1684, or thereabouts, he began to do a few wood-cuts 
that had merit, and to make a certain reputation among the 
booksellers, the embroiderers, the upholSterers, the gauze- 
makers, the ribbon-makers, and other manufacturers for 
whom he made designs. 

It was he who made the designs of laces, cravats, rib- 
bons, sleeve-buckles and coiffure trimmings for the wedding 
of the Emperor, the King of the Romans, the Dukes of Lor- 
raine, and others, and the Princesses, their wives. He had a 
special liking for these kinds of work, whose points of diver- 
gence and resemblance he knew through and through. 

We owe to him the invention in Paris of the Papiers de 
T apisserte, which he commenced to bring into fashion about 
1688. He knew how to place them artiStically and with 
great skill. | 

He brought this invention to the higheSt point it had 
ever reached, in such a manner that, during his lifetime and 
afterwards, all who took part in this industry copied his 
designs because they were so full of taSte and had such a 
reputation. 

He died on the third of February, 1723) at tiemeceam 
sixty-two years. 

He perfected Vincent le Sueur in the practice of wood- 
engraving. 

He engraved his initials usually with the letters J. P. run 


together in this fashion, ye 


Papillon opened a shop in Paris, and the increasing pop- 
ularity of his papers obliged him to take on numerous ap- 
prentices. His moSt useful assistant, however, seems to have 
been his small son, Jean Michel, who was trained to help 
his father in all sorts of ways from the time he was nine years 
old. He describes his aStonishment at that tender age, when 


Pee hoe VilPALINGSPRINTED FABRICS 7-5 


his father brought him a wall-paper design of giant poppies 
which he had just drawn, and, putting it into the boy’s 
hands, bade him engrave it on wood. Jean Michel says, <I 
was very much amazed, and a little troubled, but I set to 
work and managed to finish my firSt engraving without very 
much assistance. My father was greatly pleased when I 
showed it to him, and declared that he could not have done 
better himself.”’ 

A proof of this extraordinary piece of work may be seen 
to-day in the collection of the Papillon in the Cadznet 
ad’ Estampes of the Bibliotheque Nationale in Paris. Because 
we know that the year of Jean Michel’s birth was 1698, we 
can date the design accurately 1707. 

The heart of little Jean Michel was, nevertheless, not in 
the wall-paper business that was making his father famous. 
He liked to do wood-engraving, but he had ambitions to do 
other things than wood-blocks for papers, and he longed to 
_ try his hand on some of the designs for vignettes and armorial] 
bearings ordered by the fine gentlemen of the nobility who 
came ‘‘4u Papillon’ to consult with his father. 


My father answered me coldly that it was necessary to 
think of something more subStantial; that I knew very well 
that every day he had to refuse orders to engrave vignettes of 
flowers and coats of arms, having too much work to do in 
making the blocks for our wall-papers, printing them, and 
going to paste them up in place, both in the city and in the 
country. 

I was then eleven years old, and I also went out to help him. 

I was more than ever occupied, both in printing our papzers 
de tapisserie and in illuminating them when I was not engrav- 
ing the blocks, and in going about, as I have said, into the 
houses of quality to put them in place. I had scarcely any time 
to myself. 


76 HISTORIC WALL—PAPERS 
Like all the old Dominotiers, Papillon pere Still printed his 


outline in black and coloured or illuminated it juSt as his 
predecessors had done. Occasionally also the reds and yellows 
were printed from wood-blocks with coloured inks. The 
great difficulty was to find colours that would not spread, as 
the inks invariably did. The only remedy for this known 
to Papillon and to all the old printers was to mix a little glue 
or ox-gall with their ordinary colours as sizing. Outside of 
the question of colours, Papillon had certain ideas of his own 
which necessitated some changes in the manner of printing. 
FirSt of all, he used very large wood-blocks. Why, we do 
not know. It may have had something to do with the facility 
of matching up his designs. But the fact remains that some 
of his blocks measured as much as three feet in length. Their 
weight must have been excessive. 

Fitting these blocks into the small presses allowed to the 
Dominotiers was an impossibility. ‘The only way in which 
they could be printed was to lay them on the table face up 
and use a hand roller or a mallet to obtain an impression. 
This was the method used by Papillon pere and his imitators, 
which lasted until 1766. 

Another invention which muSt be credited to Papillon 
pere is the making of “‘luStre papers,”’ for which he borrowed 
a trick from the makers of flock papers, painting the design 
with a mordant that consisted of a mixture of fish glue and 
starch, and scattering over it powdered colours or metals. 

It does not appear to have been Papillon’s cuStom always 
to draw a design directly on the wood-block itself. Some- 
times the design was first done on paper, like those of the 
old Dominotiers ; by a calc the outline was put on the block, 
and a translation made of the original design. 

Papillon’s son, in his Treatise on Wood-engraving, tells 


~~ . @ 





ALL-OVER DESIGN, ABOUT 1770 STENCILLED PAPER, ABOUT 1750 
Canary-yellow ground, pomegranates in salmon pink, green vines Pale-blue background with rose, mauve, violet, green, and grey 





LOUIS XV CHINOISERIE PAPER 
Pale-blue background, landscapes in grey and black, medallion frames in dark blue 


a 


evi nomuVi eA INGePRINTED FABRICS 79 


many curious facts that we.may presume he first learned in 
his father’s atelier. One of these is the fact that the block 
is affected in winter by the warmth of the workman’s breath, 
as he bends over his work. He is advised to wear a mouth 
pad or mask while doing his engraving. Jean Michel also 
gives many rules for preventing eye-Strain, and discusses at 
length the queStion of an engraver’s health, for the sake of 
which he is advised to walk a certain diStance each day. 

It is difficult to believe that the intelligent Papillon did 
not make extensive experiments in printing in colour from 
wood-blocks. Jean Michel, however, does not mention any 
such attempts — in fact, he always speaks of his father’s papers 
as ‘‘illuminated.’’ Yet in 1750 we find one of Papillon’s chief 
apprentices, named Jacques Chauvau, making a great success 
of paper printed in several colours from superimposed wood- 
blocks. Jean Michel says of these papers they are printed 
in oil-colours, and can resiSt water and dampness without 
damage. Boulard also, living on the Quay de Geyres next 
to the Pont au Change, began to print papers in colours and 
was responsible for their being manufactured in Chartres and 
in Orleans. ‘‘These papers,’’ says Jean Michel, ‘‘are being 
sold at such a miserable price that they have totally driven 
out the ‘illuminated’ papers so long in favour during the 
fume ciemy father,’ 

We mu&t be fair enough to give Jacques Chauvau the 
credit of perfecting the new method of colour-printing for 
wall-paper, although we may feel the inspiration of Papillon 
pere back of his work. 

About this time the experiments to which M. Clouzot 
refers were being made in England to perfect printing in 
colour. Credit for the invention was claimed by John Baptist 
Jackson, who had also been a pupil of Papillon. 


80 HISTORIC WALL-—PAPERS 


This important betterment of printing the colours, in- 
Stead of putting them on by hand with a brush, resulted in 
new developments. Each colour was applied successively 
with a different wood-block. The designs were “‘registered ”’ 
with each other by the aid of reperes, or guiding marks, that 
left a little dot on the paper. We see these marks on all 
hand-blocked papers or fabrics. In order to take advantage of 
them, the paper had to be laid flat on the table, and the blocks 
applied meticulously upon it, so that the marks coincided. One 
colour was printed at a time and left to dry before printing 
a second one. 

Thanks to the careful and painstaking records of Jean 
Michel Papillon, we know a great deal about his father’s 
pupils and imitators. His prize pupil in wood-engraving was 
Vincent le Sueur, who could not be surpassed in the making of 
wood-blocks. Blondel, a relative of Le Sueur, and an engraver 
named Panseron were also pupils of Papillon pere. All of 
these men made and engraved designs for wall-papers. They 
are said to have done, ‘‘something above the ordinary.”’ 

Goupy wasa colleague of Papillon, who made wall-papers 
with great success. 

One of the first of Papillon’s imitators wasa Stationer named 
Adam, who, knowing that the inventor had not protected his 
designs in any way, copied them, engraving some himself and 
having several others cut on wood-blocks by different well- 
known engravers. 

In 1740 Jean Michel Papillon sold his father’s business to 
the Widow Langlois, and transferred to her all the wood- 
blocks used in making their papers. Having given up the 
work in which he had never taken any real interest, although 
he had laboured at it diligently enough, he felt free to de- 
vote himself to the delicate engraving which he had always 


Pap RoeuviiltTArING PRINTED FABRICS 81 


longed to do. But he worked so hard to excel in it that 
he must have forgotten the rules for an engraver’s health. His 
head became affected, and he showed a tendency toward 
insanity, but eventually recovered after being sent to a 
hospital. 

Jean Michel’s book about wood-engraving, which is called 
“An Historical and Practical Treatise,’ was published in 
1766 in Paris, and was dedicated to the Marquis de Boyer de 
Bandol. It treats of the art of wood-engraving in all its pra¢ti- 
cal details, and gives, besides, an account of the great wood- 
engravers of all time, and of their works, which amounts to 
a confused and somewhat jumbled catalogue. 

The publication of this book was approved in 1735 by the 
Society of Arts, to which Jean Michel had been admitted two 
years previously. 

In 1768 Jean Michel presented to the Royal Library what 
he called the ‘“‘Recuez/ des Papillon,” consisting of four large 
folios containing specimens of the engraving of three gener- 
ations of this gifted family. 

The collection is now in the Brb/iotheque Nationale. In 
it will be found specimens of his father’s, grandfather’s, and 
uncle’s work, besides a large number of engravings done by 
Jean Michel himself, among them the famous design of giant 
poppies engraved when he was nine years old. 

Meantime the Widow Langlois was having some difhcul- 
ties with the Papillon business. She had set up the old sign, 
“du Papillon,’ when she purchased the business. But Didier 
Aubert, a former pupil of Papillon, opened a shop in the rue 
St. Jacques under the same name. This was the occasion of 
a great lawsuit. To her chagrin the Widow Langlois lost the 
suit, and the famous name of the master remained in the 
possession of Didier Aubert. 

6 


82 HISTORIC WALL-—PAPERS 


The growing importance of wall-papers is shown by the 
increasing number of printers and engravers occupied with the 
industry at Chis tines) can Michel writes in 1766: 


The factories of toz/e peinte of the Arsenal and other places 
have many wood-engravers who are unknown to me, as are 
also those of the wall-paper factories which, like that of Sieur 
Huquier, have sprung up in this year. 

At the present moment M.N. B. de Poilly, the son of one of 
the famous Poilly, an engraver on copper, isamusing himself by 
engraving blocks for flock papers, both on wood and on copper. 

The reader will not object, doubtless, if on this occasion 
I speak of all the other kinds of papers that were formerly in 
use, and of those which are Still used in these weStern countries. 
I shall commence with the gold and silver papers with flowers 
and ornaments, whose date of invention is not far removed. 
These papers are being made in Frankfort, in Worms, and other 
German cities. The blocks for them are of yellow copper, 
and are done in ¢az//e d’épargne, like wood-blocks. They are 
heated to a certain temperature to make the sheets of metal 
adhere to the paper, passing them under a cylinder, or copper 
engraver’s press. 

Toward the end of the last century and the began 
of this, a certain Le Breton, father and son, made a reputation 
for the fabrication of all sorts of marbleized papers. Those 
which were called ‘‘paste papers’” were made with flour paste, 
which made them somewhat thick. 

Laboissiere, another artiSt who engraved some vignettes 
on wood, but did not continue the practice of his art, more 
than forty years ago invented papers imitating natural wood, 
done with a special large brush always with distemper colours, 
and with such art that one could not desire paper of this sort 
better done to imitate the grain of wood. The method of 
the inventor has been kept and greatly improved. 

This Laboissiere also engraved on wood the hollow of 
several medals, which he brought into relief on cardboard 
with a boar’s tooth, firmly imbedded in a wooden handle. 


83 





LATE SEVENTEENTH CENTURY PAPER IMITATING TEXTILE DESIGN 


This paper is similar to that found in the Lee Mansion in Marblehead 





SEC aici 





x 
Baki 


wheat 


We 





EARLY EIGHTEENTH CENTURY CHINOISERIE DESIGN 


recalling the motifs of printed Indiennes 


Emerald green on glazed paper, 





A TEXTILE DESIGN ON WALL-PAPER, MADE BY BASSET IN 1730 
Ground, blue-green; wavy stripes in two shades of brown and cream; magnolias in the same tones 


BSCR 


woete at 7, 





WALL-PAPER OF 1750 IMITATING PRINTED LINEN 
Background, burnt biscuit colour; designs of lace-like drapery and lilies in white 


PAPERS IMITATING PRINTED FABRICS 85 


Savage opened a factory in Rheims during Papillon’s time ; 
Letourmy and Rabier-Boulard had wall-paper factories in 
Orleans between 1720 and 1750; Isnard, one in Strasbourg ; 
Descouteaux, another in Chaumont; Vautrain in Nancy, and 
Roche in Lyons. 

Dumont (1700 to 1795), Scotin, Vasseau, and Vincent 
Pesant de Laire were also well known for their work in 
engraving and printing wall-papers. 

Their papers were Still printed on small sheets. In 1760, 
Fournier, paper merchant, who had a shop called ‘‘Au Bon 
Ouvrier,’’ rue Carré St. Martin in Paris, made an attempt to 
produce paper in long Strips by pasting the small sheets together 
before printing them. Louis XVI in 1778 issued a decree 
which fixed the length of nine aunes (about 34 feet) as a 
standard length for a roll of paper. ‘This was obtained by 
gluing 24 sheets end to end. ‘The name and address of the 
maker had to be put on the two ends of the roll. This length 
of about twelve yards, with a width of about twenty inches, 
remained the Standard size for a roll of paper until the metric 
system was adopted. 

If Papillon pere had lived a little longer, he would have 
seen his iJluminated papers thrust into the background by Eng- 
lish flock papers which imitated velvet and damask and bro- 
cade. So great was their popularity that illuminated papers 
were looked upon as very common and ordinary, and were 
no longer indemand. Fortunately he never suffered the dis- 
appointment of seeing his invention superseded and depreci- 
ated by another fashion. At the time of his death the papers 
he had created were at the zenith of their success. 








ONE OF JEAN PAPILLON’S FAMOUS PAPERS 
Shown on page 71 in the house of Miss Elizabeth Marbury 


a 


+ 


We 





CHAPTER VI 


CHINESE, ANGLO-CHINESE, AND FRANCO- 
CHINESE PAPERS 


ar 





CHAPTER VI 


CHINESE, ANGLO-CHINESE, AND FRANCO- 
CHINESESPAPERS 


HE Chinese have an old saying, “A picture is a voice- 

less poem.” 

The wall-papers that came from the East, brought 
by Dutch and Portuguese traders in the middle of the six- 
teenth century, were proof that the Chinese carried this idea 
into all types of decoration. ‘Their painted wall-hangings, al- 
though done by minor artists, were full of rhythm, poetic 
ideas, and suggestions of idealism. 

There is much discussion as to whether the Chinese them- 
selves used papers on the walls of their own houses. A 
traveller who has spent much time in the East and who is an 
extremely observant person says that he has seen such wall- 
decorations in many Chinese homes of the better classes, dat- 
ing from the Ming Dynasty. They were not, however, like 
the papers exported into the WeStern countries, which were 
made expressly for this purpose. For their own use the Chinese 
preferred pictures painted on silk, largely with designs of 
birds and flowers. ‘The coarser designs, with bamboos and 
landscapes, were deStined as gifts to the foreigners. 

In the beginning, these papers were not made to be sold 
in the ordinary way, but were presented by a great Hong 
or merchant to an important customer to take home as a gift 
after a sale was consummated.. Few of them were to be found 
in the open market. 

When these delightful gifts arrived in foreign ports, they 
were the objects of much admiration and curiosity. Special 
orders for sets of similar papers were sent back through 
travellers on EaSt-bound ships. Soon the commerce in Chinese 

89 


go HISTORIC WALL-—PAPERS 


papers became important. To avoid the long delays caused 
by ordering papers specially painted in China and waiting for 
their delivery, attempts to imitate the designs were made by 
French and English merchants, This created what we have 
called Anglo-Chinese and Franco-Chinese papers. 

Pictorial art in China had much in common with the art 
of the Dominotiers, for it was done in a flat plane, without 
attempt to imitate high relief, and without the contrast of 
light and shade. Chinese papers depended for their success on 
colour, beauty of design, and balance of composition, They 
had no perspective. Paintings, reasoned the Chinese, were 
made to hang on a flat wall, possibly with light coming from 
both sides. The spectator, too, might move about and look 
at the picture from different positions. For these reasons, 
they have always insisted on the omission of background, 
and on drawings done in a single plane. 

The great Hsuan Ho Hua P’u classified Chinese artists 
under ten different headings, according to the subjects they 
painted — religion, human figures, buildings, barbarians, drag- 
ons and fishes, landscapes, animals, flowers and birds, the 
bamboo, vegetables and fruits. All of these classes apparently 
contributed to the production of hand-painted papers, for we 
find every subject mentioned in the list among the papers 
that still survive. 

Printing in colour was known in China, certainly in the 
seventeenth century and perhaps earlier. The first importations 
of wall-papers, however, were not printed, but were painted 
by hand on rice paper with gouache and touched up with 
Chinese ink. The favourite designs up to the middle of the 
eighteenth century in the WeStern world were birds and flow- 
ers; these were superseded to a large degree after 1750 by 
landscape papers. 


Ol 





PANEL OF ENGLISH WALL-PAPER DONE IN IMITATION OF THE CHINESE, 1770 
Etching, coloured ty hand. (Courtesy of Victoria and Albert Museum) 


YIOK MAN JO ‘vaseyy ugol ‘spy Aq pauMo Mou st Jaded siq} jo [eH 
ATVLI “LNOWdaId ‘WTIVAVO NI OZZV1IVd V NI GNNOd UAdVd ASHNIHO AUNLNAO HLNAAYLHOIA 





20 





CHINESE PANELS, EARLY EIGHTEENTH CENTURY, MADE IN CHINA FOR EXPORT TO ENGLAND 
These panels hung for two hundred years in an English country house before they were acquired by the Metropolitan Museum. The entire set consists of seventeen panels. (Courtesy of Metropolitan Museum) 


cetteniaes 





1 
F 
] 
q 
A 





ae Bane a 


CHINESE PANELS, EARLY EIGHTEENTH CENTURY, MADE IN CHINA FOR EXPORT TO ENGLAND 
These panels hung for two hundred years in an English country house before they were acquired by the Metropolitan Museum. 
The entire set consists of seventeen panels. (Courtesy of Metropolitan Museum) 





CHINESE, ANGLO- AND FRANCO-CHINESE 95 


Landscape painting had come to its highest development 
in China during the Sung Dynasty, and the Mongol Dynasty 
that followed prolonged the traditions of simplicity and 
directness characteristic of the Sung period; but with the 
Ming Dynasty (1368-1644) came a love of ornament and 
elegance that was entirely opposed to these early prin- 
ciples. At this period the first Chinese papers were brought 
to Europe. 

In the beginning, these ‘‘foolish extravagances’’ were 
looked upon by the English with little favour as being perish- 
able and impractical. ‘‘ The age was one that respected dura- 
bility and beauty of texture and was willing to pay for it.” 
Two things, however, operated to bring such decorations into 
popularity—first, the natural desire of the exclusive classes to 
have something that was different and so difficult to obtain 
that it could not be commonized ; secondly, the need of having 
a suitable background for the lacquers and porcelains that 
the East India Company was Steadily introducing into 
the country. 

As shipments of tea from the Orient became more plenti- 
ful, shipments of Chinese papers were made with the tea 
boxes. Hence Mincing Lane, where the tea importers had 
their place of business, gradually became the centre of distri- 
bution for Chinese wall-papers in London. 

The demand for these papers soon became so great that 
the importers ordered from China a quantity of small wood- 
engravings, coloured by hand by lesser Chinese artists, in 
water-colours and gouache. These engravings were sent 
over in packages and fitted together in harmonious designs 
to form scenes and landscapes, thus obtaining the general effect 
of painted Chinese papers. Even this did not sufhce to meet 
the demand. Chinese artists were then imported into Eng- 


96 HISTORIC WALL-PAPERS 


land, and under their guidance, with some direction as to 
English preferences, imitations were painted on the spot. 

Robert Dossie, who wrote ‘The Handmaid of the Arts,”’ 
published in 1768, says: ‘‘The Chinese, who intermix print- 
ing and painting much more than we do, seem to make a 
very advantageous use of the engraving on wood, in the 
execution of which they doubtless exceed what we have any 
conception of here, and produce very fine outline sketches 
which greatly assist in the painting, even in very large pieces, 
by means of wooden prints. It were to be wished, therefore, 
that the engraving on wood was more encouraged and 
cultivated here, especially as paper-hanging, to the manu- 
facture of which it is greatly subservient, is becoming now 
a very considerable article of trade.” 

The average height of Chinese papers is twelve feet. The 
French landscape papers that came with the beginning of 
the nineteenth century were usually only six feet high. It 
was sometimes possible, by cutting the Strips in two, to use 
one Chinese decoration as wall-hangings in two different 
rooms in our early low-ceilinged American houses. 

Shortly after 1770 Robert Morris, the Philadelphia 
banker, imported from Canton a magnificent Chinese paper 
consisting of forty Strips, each four feet wide and twelve feet 
high. ‘This paper formed a continuous panorama showing 
the industries of China at that period —the raising of rice 
and tea and the making of pottery. For one hundred and 
thirty years the paper lay unopened in the original box in 
which it was imported. ‘The case, almoSt seven feet long, 
Stayed in the attic of the Gerry family of Marblehead until 
some one appeared who understood how to make use of its 
contents, At that time a small part of the top of ten Strips was 
cut off and put on the walls of the drawing-room of the King 


97 











f 
rome 


FINE CHINESE PAPER IMPORTED SHORTLY AFTER 1770 BY ROBERT MORRIS 


Given by him to the Gerry family of Marblehead. For one hundred and thirty years this paper lay unopened in the original box in which it was brought to this country. 


Hooper Mansion in Marblehead. Later the entire paper was acquired by Mr. Henry D. Sleeper of Gloucester, 


the paper is in the ball-room of E. Bruce Merriman, of Providence, R. I., and the remainder in Mr. Sleeper’s residence at Gloucester. 


and the Raising of Rice. The complete paper consists of forty strips, each four feet wide and twelve feet high. 


Then a small part was cut off and used in the King 


The portion that had been on the King Hooper drawing-room was removed at that time. To-day half of 
The subjects treated in this paper are the Cultivation of Tea, the Making of Porcelain, 


This photograph was taken in the ball-room of the Merriman house. 


Nadu GNV ‘NMOU ‘'NVL ‘AANA “SSVI ‘CVAHATAUVW ‘NOISNVW AdT AHL NI WAdVd ASANIHO 


Setmener es 78 


ae 





CHINESE, ANGLO- AND FRANCO-CHINESE 99 


Hooper Mansion in Marblehead. Subsequently the entire 
paper was acquired by Mr. Henry D. Sleeper of Gloucester. 
The portion from the King Hooper Mansion, together with 
the large section belonging to it, has been recently hung in 
the ball-room of E. Bruce Merriman, of Providence, R. I.; 
the remainder is in Mr. Sleeper’s house. 

Mrs. William Hooper of West MancheSter, Mass., owns 
what is perhaps the finest old Chinese paper in this country. 
It is painted on very thin silk applied on rice paper, and de- 
picts the history of the tea trade. Its date is prior to 1700. 
Commodore Robert Bennett Forbes of BoSton sent the paper 
over in the 1840’sto Mrs. Forbes, Mrs. Hooper’s grandmother, 
and says in a contemporary letter that it ‘fis very old and 
very fine.”’ 

This paper was on the walls of the Forbes house in Mil- 
ton until 1900, when it was removed and left unused for 
eighteen years. When it was once more brought out, to 
put in Mrs. Forbes’ house in WeSt Manchester, it required 
two months of conStant mending and retouching, which was 
done by the Japanese painter, Murokami. In colour and 
technique this paper is not surpassed by any other known to 
be in America. 

Another fine hand-painted paper brought to this country 
about 1750 is in the house of Mr. Theodore Burgess, of 
Dedham, Massachusetts. The subject is the Cultivation of 
Tea. This paper is mentioned in Munsterberg’s Monograph 
on ‘‘Chinese Art in America.”’ 

Occasionally ‘‘Chinese papers’? were ordered made in 
England for American homes. Such an order was sent on 
January 23, 1793, by Thomas Hancock of Boston, who 
wrote to John Rowe, Stationer, London, as follows: ‘Sir, 
Inclosed you have the Dimensions of a Room for a Shaded 


100 HISTORIC WALL-—PAPERS 


Hanging to be done after the same Pattern I have sent per 
Captain Tanner, who will deliver it to you. It’s for my 
own House and entreat the favour of you to Get it Done for 
me to Come Early in the Spring, or as soon as the nature of 
the Thing will admitt. 


The pattern is all was Left of a Room Lately Come 
over here, and it takes much in ye Town and will be the 
only paper-hanging for Sale wh. am of opinion may Answer 
well. Therefore desire you by all means to get mine well 
Done and as Cheap as Possible, and if they can make it more 
beautiful by adding more Birds flying here and there, with 
Some Landskips at the Bottom, Should like it well. Let the 
Ground be the same Colour of the Pattern. At the Top and 
Bottom was a narrow Border of about 2 Inches wide wh. 
would have to mine. About three or four years ago, my friend 
Francis Wilks, Esq, had a hanging Done in the Same manner 
but much handsomer, Sent over here from Mr. Sam Waldon 
of this place, made by one Dunbar in Aldermanbury, where 
no doubt he, or some of his successors may be found. In the 
other part of these Hangings are Great Variety of Different 
Sorts of Birds, Peacocks, Macoys, Squirril, Monkys, Fruit and 
Flowers, & c. 

But a greater Variety in the above mentioned of Mr. 
Waldon’s and Should be fond of having mine done by the 
Same hand if to be mett with. I design if this pleases me 
to have two Rooms more done for myself. I Think they 
are handsomer and Better than Painted hangings Done in 
Oyle, so I Beg your particular Care in procuring this for me, 
and that the patterns may be Taken Care of and Return’d 
with my goods. 


But to get back to England. 

With the advent of Chippendale and Sir William 
Chambers, and the fashion for the Chinese phase in furniture, 
Chinese papers became Still more popular as backgrounds. 





CHINESE PAPER IN THE DINING-ROOM 


OF THE DOROTHY. QUINCY HOUSE, QUINCY, MASS. 





EARLY EIGHTEENTH CENTURY 


i 


TTY TRY eR 








EARLY EIGHTEENTH CENTURY 


CHINESE PAPER IN THE DINING-ROOM OF THE DOROTHY QUINCY HOUSE, QUINCY, MASS. 


CHINESE, ANGLO- AND FRANCO-CHINESE 103 
The Chippendale Chinese Room at Badminton House illus- 


trates a combination of black lacquered furniture with a pale 
pink Chinese paper, dated about 1750. The paper is very 
similar to that described by Mrs. Delany in 1746, who, when 
visiting Cornbury, States that some of its rooms were hung 
“with flowered Indian paper of flowers and all sorts of birds.”’ 

One of the finest examples of these Chinese paper-hang- 
ings is to be seen in London to-day in the drawing-room at 
Coutts Bank, opposite Charing Cross Station. ‘The paper was 
brought to England by Lord Macartney, the first British 
Ambassador to China, who returned to England in 1792. 
Among the presents which he brought back was this set of 
painted papers, which he presented to Mr. Coutts, The 
decoration covers about 20 by 30 feet and is 72 feet in height. 
At the base are Streets and waterways. The figures and ob- 
jects gradually diminish in size until they reach the mountain 
tops near the cornice of the room. Hundreds of little 
figures are introduced into the scene, portraying the manners, 
customs, and induStries of the Chinese in every possible 
manner. Silk-spinning, tea-cultivating, and fig-drying are 
depicted, and there is also the daily life of the bazaar— 
marketing, pig-driving, the slaughtering of horses, and other 
endless details. 

The Victoria and Albert Museum has a panel of English 
wall-paper made around 1770 in imitation of the Chinese, 
which is most interesting to compare with imported Chinese 
papers of this same epoch. 

In Winnington Hall, Cheshire, there is a delightful 
Chinese paper in buff and green with bird-cages, decorative 
branching trees, and small Chinese figures. Evidently this 
paper was made expressly for French or for English use, for 
the designs are arranged in panels—a thing that rarely hap- 


104 HISTORIC WALL—PAPERS 


pens in native Chinese papers. This same fact is true of 
the Chinese paper discovered in a Palazzo in Cavalla in 
Piedmont, Italy, of which an illuStration is given. The 
lambrequin, the medallions suspended from tassels, the arches 
wreathed with garlands, and the background above the moun- 
tain tops, Strewn with small bouquets, are evidence of Strong 
Louis XVI influence. 

Italy until about fifty years ago had no wall-paper facto- 
ries of her own, and great decorations of wall-papers are seldom 
found there, except in the provinces lying close to France. 
In Milan and the surrounding country, French influence 
occasionally resulted in the adoption of a wall-paper decora- 
tion instead of Stucco or fresco. The papers used in such 
cases were Chinese or Franco-Chinese. 

In France the EaStern papers were known as ‘‘Chinese 
papers,’ ‘“‘Indian papers,’ or ‘‘pagoda papers.’ ‘The first 
examples were brought out by Dutch merchants. By 1745 
the French Compagnie des Indes was making direct importa- 
tions. ‘The name of India papers is probably traceable to 
its connexion with the name of the company. 

These papers served at first for screens and fireboards and 
finally were used for walls. By the middle of the eighteenth 
century they took a very important place in French deco- 
rative art. | | 

The day-book of Lazare Duvaux, one of the merchants 
of Paris, notes the following sales about this time: 

October 5, 1748, to Madame la Comtesse de Maurepas, 

four stretchers covered with canvas and papier des Indes; 

_ white ground, with flowers, figures, and birds, francs 40. 
October 21, 1748, to Madame la Reyniére, one panel 

of canvas and Indian paper, 11 feet high by 8 feet wide, 
white ground with flowers, birds, and figures. For making 

and matching, francs 96. 





STENCILLED AND HAND-PAINTED PAPER DONE IN FRANCE IN THE EARLY EIGHTEENTH CENTURY 
os iu UNDER CHINESE INFLUENCE 


These panels were made as designs to be used by the silk looms of Lyons. They illustrate the translation of Chinese ideas by 
French craftsmen. Property of Mrs. J. Watson Webb 
Detail of the paper illustrated on page 106 


106 





STENCILLED AND HAND-PAINTED PAPER DONE IN FRANCE IN THE EARLY EIGHTEENTH CENTURY 


UNDER CHINESE INFLUENCE 


They illustrate the translation of Chinese ideas by 


Property of Mrs. J. Watson Webb 


These panels were made as designs to be used by the silk looms of Lyons. 


French craftsmen. 


CHINESE, ANGLO- AND FRANCO-CHINESE 107 


_ May 6, 1749, to Monseigneur, the Duke of Bouillou, 
two small rooms or corridors done in India paper. For 
toile, making, pasting, and matching, francs 48. 


June 4, 1751, to the Maréchal de Richelieu, one sheet 
of India paper with a figure, francs 48. 

December 13, 1753, to Madame de Lauraguais, a fold- 
ing screen of four panels in India paper, francs 72. 

November 16, 1754, to Madame de Pompadour, four 
panels of very fine India paper, francs 266. 


July 7, 1758, to Madame de Pompadour, a large var- 
nished panel of very lovely Chinese paper with pagodas; 
toile and matching, francs 96. 


The Mercure of June, 1753, announces, ‘‘ One will find in 
the shop of Sieur Prudhomme, dealer in paper, rue des Lom- 
bards, opposite the Street of Cing Diamants, an assortment 
of sheets of Chinese paper of different sizes for wall-hangings, 
overdoors, fire-screens, and paravents.”’ 

This was the Epoch of Louis XV, when the fashions of 
chinoiserie and singerie infected the taste of the day, when 
the Martin Brothers were making their famous Chinese lac- 
quers, and when artists like Pillement, Boucher, Le Prince, 
and Huet were following the example of the designers and 
using Chinese motifs in every phase of decoration. Even the 
Beauvais and Aubusson factories adopted the prevailing Style. 

French Chinoiserie designs were by no meansa literal trans- 
lation. ‘The French artists gave the little Chinese figures a 
certain fantastic twist that made them more French than 
Chinese. So we have a new mode, growing out of the com- 
bination of the ideas of the two countries, charming, whim- 
sical, and decorative. 

The first attempts in France to imitate Chinese papers 
are described by L. SébaStien Lenormand: 


108 HISTORIC WALL-—PAPERS 


To obtain successful results, our artists Stretched paper 
absolutely smooth, and used pasteboard Stencils cut out accord- 
ing to the designs they wished to form. With one of these 
stencils they applied on the plain painted background the col- 
our that formed the base of the flowers or leaves. With an- 
other pattern similarly cut, they laid over this first colour a 
darker shade or a different colour, as the picture indicated, and 
by repeating these operations they succeeded, with a little dex- 
terity, in obtaining a satisfactory copy of the proposed design. 

The work was tedious, dificult, and expensive, and did not 
entirely accomplish the end they wished to attain. The 
methods employed in the fabrication of printed linen were 
used with success in this new art. Blocks of wood, engraved 
in relief, were substituted for Stencils and the success was 
complete. 


At the present time in France no papers are more highly 
cherished, except the rare examples of the Dominotier’s work, 
than these Chinese decorations that are so characteristic of 
the eighteenth century. 


she 





FINE EIGHTEENTH CENTURY CHINESE PAPER FOUND IN AN ATTIC AT WELBECK ABBEY 
Subsequently put up in a ball-room at Beau Desert, the residence of the Marquis of Anglesey, in Wales, and now in the possession of Mrs--J. H. Weaver of Merion, Pa. 


WIS 


A 
ie 
* 
* 
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- 


AYOLNAO HLNAALHOW AHL NI JONVYA NI AGVW “IANVd ASANIHO AO NOILVLIWI 


SCRE PRED H 


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eee , ies 


SOSERGE ERS OA WE OSE HS ORT Ob are we ee 


PERRO De SY 


a RLERA DLR eae eee 








tetel 











CHINESE PAPER IN THE HOUSE OF MRS. WILLIAM HOOPER, WEST MANCHESTER, MASS. 
Mentioned in Muensterberg’s Monograph on Chinese Art in America 


™~% 








Pp-o ¥ 


fe 





WALL-PAPER DESIGNED BY CIETTI AND PRINTED BY REVEILLON BETWEEN 1780 AND 1789 


Ne 





as 





CHAPTER VII 


PERIOD IV 
PAPER IMITATING PAINTED PANELS—FRENCH 


REVEILLON JACQUEMART ET BENARD 


As 





CHAPTER VII 
PERIOD IV 
PAPER IMITATING PAINTED PANELS—FRENCH 


LITTLE Stationer named Reveillon, with eighteen 
A francs’ savings, made a modest beginning in the rue 
Gomi ter occa Ii 520, Wit dirst, like most’ of the 
paper-merchants of the day, he bought and sold flock papers. 
Later he resolved to manufacture wall-papers according to 
his own ideas, and into his work he put genius and skill, and 
a technique so superior in its results that the French acclaimed 
him as an artist of high rank and speedily banished their pet 
“flocks” to adopt the new papers that he launched. 

His chief contribution to the development of wall-paper 
was the execution of paper panels of such a character that they 
could be used to build into wood-panelled rooms, in place of 
decorations painted to order on canvas or on wood. Reveillon, 
Studying the decorators who were most in fashion for this 
kind of work, decided with a flash of inspiration to employ 
these same artists to make designs for his panels. If he had 
not possessed an amazing knowledge of technique, he could 
never have carried out their compositions successfully ; but 
he was a master of his art. The panels designed for him by 
Cietti, Huet, Desrais, J. B. Fay, Prieur, Lavallée-Poussin, 
and Paget are room-decorations more beautiful than any 
papers made before his time, and the rare examples that Still 
exiSt may well be regarded as treasures. 

In order to devote himself wholly to the manufacture of 
fine papers, Reveillon soon gave up his Stationery business, 
which brought him in between 25,000 and 30,000 francs a 


year, and presented it to two of his beSt workmen. He chose 
IIs 


116 HISTORIC WALL—PAPERS 


as the spot for eStablishing his factory the old Fo/ze Tzton in the 
rue de Montreuil, in the Faubourg St. Antoine district, which 
has always been the site of the wall-paper induStry in Paris. 

*“Titon’s Folly,” as the house was known, was an enormous 
dwelling constructed by the rich Titon du Tillet in 1705. 
He had amassed a great fortune, it is said, in his position of 
commissaire de guerre, and his special vanity was the con- 
struction of this sumptuous and luxurious abode, which is 
noted in the documents of the day as one of the Curiosities 
of Paris. The dwelling was surrounded by a fine park, made 
famous by the Montgolfier Brothers, who accomplished the 
first balloon ascension there in 1783. 

Titon du Tillet died in 1762. His property was leased 
to Reveillon in 1765 and definitely purchased by the manu- 
facturer ten years later. Here Reveillon constructed a building 
that would accommodate more than 300 workmen. His busi- 
ness soon became celebrated. In 1784 he received from the 
King (Louis XVI) the title of ‘‘Royal Manufactory,” which 
conveyed among other privileges the right to add to his sign 
the crown and the three fleurs-de-lys. Reveillon’s great pride 
in the success of his undertaking incited him to make constant 
improvements and innovations, Since he could not find on 
the market a quality of paper that came up to his Standards 
of what was required for printing his remarkable panels, he 
purchased a paper-mill at Courtalin-en-Brie in 1770 and 
began the fabrication of pure vellum paper in imitation of 
the Dutch. For this he was awarded the prize given in 1786 
by the Minister Necker for the Encouragement of Useful Arts. 

At Courtalin he made sheets of paper of a larger size than 
usual, measuring 46 centimetres by 60 centimetres (18 inches 
by 24 inches). Twenty-four of these sheets glued together 
formed the length of a roll: the width was in one piece. 


fi 
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SU : 


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@ oe te Ruede lArbre-sec pres laRue des Fosse? 


‘RON 


rie 


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er tnd de tres baw Pa er BattuLave, = 
ey dove Clacé dHollande et de toultes AY 
Ss gualttes pour lecriture et le fessor Livres 
= etRapiea Reg les peut la ees wile, foultes 

sortesdePapicrs oh Bee ee 
= Ses, eaitres guil employe pour Nes: 
STS, Doe eek Se Ehoe ae de A 
 boulles grandurs Reg ks pour les Comptes 
Liugeas Laptes doibles et durnatiu, & 
‘ Boestes pour les Bureiue Eeyore de Fa 
5 poches et de ee les, Borlyfeutlles et Tab leliesa = 
ae ud? » femen ta ef garni dir e-ditr. arb 
ae new d Hollande Cire dP, saad y) Tal : 
=. Gralowe verilable Encre double ct- == a 
uicainte.a loulles sortes demarchan+ > 
2, Uses we: cae Bureaua Bares. 





REVEILLON’S SIGN, REPRODUCED FROM A DOCUMENT OF THE TIME 








by 
a 
¢ 
‘3 
3 
Uj 
4 
¢ 
eH 
Gi 
§ 





TWO PANELS OF THE FIVE SENSES, ISSUED BY REVEILLON 


lle 


10Nns in grisat 


Background, green-blue; vases, figures, and decorat 





PAPER IMITATING PAINTED PANELS rig 


Unfortunately the large scale on which Reveillon con- 
ducted his business required a great Staff of workmen, en- 
gravers, and designers, and made the coSt of his productions 
rather high. His enemies spread the rumour that the master 
had determined to reduce wages in order to lower costs. This 
rumour, which Reveillon afterward denied, came at a most 
unfortunate moment, after a severe winter during which there 
had already been popular disturbances caused by hunger, cold, 
and heavy taxes. It resulted in precipitating the disaster which 
is referred to by Thiers, Carlyle, and Watson as the first out- 
break of the French Revolution. 

At this time Reveillon’s workmen were divided into four 
classes : 

i$ Class. The engravers and designers on wood, who 
earned 50 to 100 sous a day. 

2nd Class. ‘The printers and makers of background, who 
earned 30 to 50 sous a day. 

3rd Class. The porters, packers, and mixers of colour, 
who earned 25 to 30 sous a day. 

4th Class. Children of twelve or more, whose wages 
were 8 to 15 sous a day. 

Gluers, who fastened the sheets of paper together, earned 
up to 3 francs a day. 

The artist Paget, who directed the Studio of design, was 
paid 10,000 francs a year, and his artists between 1200 and 
5000 francs. 

These were good wages, by comparison with current prices 
among other industries. Reveillon had no intention of reduc- 
ing them, if we may believe his own published Statements. 
Malicious enemies, however, who were perhaps jealous of his 
success, set his factory in an uproar over the news of an 


impending cut. 


120 HISTORIC WALL-—PAPERS 


In the Vatican Archives in Rome there is a letter from 
Salamon, the Papal nuncio in Paris, which says: “‘ The Sieur 
Reveillon had the imprudence to say, in an assembly of this 
district, that the workmen could easily live on twenty sous 
a day and even on fifteen.”’ 

A sou was about equal to a cent. At that time, one 
tenth of every income was taken in taxes by the Church, while 
the regular taxes of the State took four tenths more. The 
people of France were waiting anxiously for the meeting of 
the States General early in May, with a desperate hope of 
reforms and justice. 

Whether or not Reveillon’s reported words were actually 
used, the rumour created intense excitement and bitterness, both 
among his employees and among the unemployed of the dis- 
trict. ‘All during Sunday, the 26th of April, angry groups were 
gathering to discuss the report and to denounce Reveillon. 
On Monday, the 27th, a mob collected, searched his house 
for him, and failing to find him, erected a gallows and hanged 
him in effigy.”’ 

The mob was dispersed the first day. That night bribes 
of money were freely circulated among the ne’er-do-wells of 
the neighbourhood, A boat landed at Bercy, loaded with 
clubs and Stones that could serve as weapons. The following 
day (April 28, 1789) the mob pillaged Reveillon’s factory. 
Bursting into the building, the rioters first flung all the fur- 
niture out of doors, then ransacked and looted the place from 
garret to cellar. Finding in the cellar huge vats of carmine col- 
our which they believed to be wine, they drank it and Steeped 
themselves in it. At last they set fire to the ruins they had cre- 
ated. The Guards were ordered out to quell the disturbance. 

We have a description of the scene by an eye-witness, 
the Count Lavallette, who says: 


pea 





NR nent et a 





ONE OF REVEILLON’S FLOWER PAPERS 
It is like a garden in colour, with roses, poppies, lilacs, daffodils, columbines, and 
larkspur all in bloom 











PANEL DESIGNED BY CIETTI AND PRINTED BY REVEILLON ABOUT 1780 
Pale-blue ground, medallions, blue and green, with figures in ochre, touches of rose-red 
in arabesques 


122 





etc. 


PAPER WITH HUNTRESSES, 


DOGS, SWANS 


PANEL OF A REVEILLON 


AND FOUNTAINS 


, 


PANEL OF A REVEILLON PAPER 
DOGS 


WITH NYMPHS, 


THE GROTTO: 





blue ground 


s grisaille on green 


Decoration i 


fhe RINGePAINTED PANELS 123 


There lived at that time in the Faubourg St. Antoine a 
wealthy paper-hanging manufacturer called Reveillon. This 
man employed several hundred work-people, who, being dis- 
satished with his refusal to raise their wages, and probably 
instigated by enemies of their master, resolved to murder him 
and ransack the eStablishment by which they got their liveli- 
hood, The disturbance soon rose to a great height, and the 
guet or guard of the town not being Strong enough to suppress 
it, a detachment of the regiment of the Gardes Francaises 
was ordered out against the rioters. 

Wishing to bea witness of the scene, I went to the spot, 
and was Standing between the plunderers and the troops, when 
the latter arrived by divisions and fired. Many persons were 
killed, several were sent to prison, and one man, I believe, 
hanged a few days afterward. 

The inhabitants of the suburb never forgot this military 
expedition, and I have reason to believe that it contributed 
greatly to keep alive the spirit of revenge and sedition that pre- 
vailed so long among the population of that part of Paris. 


The Folie Titon was not entirely deStroyed during this 
outbreak. It was occupied two years later by Reveillon’s 
successors, and did not disappear from Paris until 1880, when 
the present Street called the rue Titon was cut through 
the property. 

Reveillon himself, forced to flee before the mob, was 
admitted to refuge either in the Bastille or the Chatelet. 
_ From his retreat he sent the following impassioned protest 


to the Minister Necker: 


An enormous loss; a house which has been my delight 
and which is now the picture of desolation ; my credit shaken ; 
my manufacture totally destroyed, perhaps, because of lack 
of necessary funds; but above all (and this is the blow that 
is most cruel) my name dishonoured, my name now loathed 
by the class dearest to my heart—this is the dreadful result 


124 HISTORIC WALL—PAPERS 


of the infamous calumnies spread abroad concerning me! 
Ah! barbarous enemies, whoever you are, you should be 
satisfied | 

And yet what is my offense? We have seen. I have 
never wronged anyone, even evil-doers. I have sometimes 
caused ingratitude, but never unhappiness. 


(signed ) Reveillon. 
The list of objects lost in his factory is thus enumerated : 


The belongings of those of my employees who live with 
me. Also those of my servants. Nothing has been saved. 
It is, as yet, impossible to make a complete list from the 
rough eStimate given me. I have lost among other things: 


My gold medal 

500 louis in gold 

Much cash and silverware 

All my titles of property 

7000 to 8000 francs of banknotes 

10,000 to 21,000 francs of valuable designs and choice prints 

50,000 francs of glass 

50,000 francs of furniture 

40,000 francs, of which nearly 30,000 were in papers from 
the Courtalin factory; and more than 10,000 francs in rolls from 
my shops, in carmine, in papier peint etc. 

I have besides 50,000 to 60,000 francs of repairs to 
make, and, if I would re-eStablish my house in its original 
condition, I should have to spend 50,000 crowns. 

In answer to this, Necker replied moSt courteously in a 
letter dated June 18t, 1789. 

I have taken great interest, monsieur, in your misfortune, 
and I have read with great emotion, as have all the public, 
the simple and touching and reStrained account of it that 
you have given. I muSt commend you also for the praise- 
worthy discretion with which you have had recourse to the 
justice and goodness of the King. Surely many others with much 


2 es ey 


bad 93, Seok eke os 


ps 
sare wee 


OE Oe 5" ig a . 6 LF, la te arias ~ 





OVERDOOR BY REVEILLON 
Found in the same room with the Cietti paper illustrated facing page 112 


a 





Poet ER SIMIRATING PAINTED PANELS 125 


less right would have made greater demands. Nevertheless, 
situated as I am to defend the interests of the Royal Treasury, 
although persuaded of the exact truth of your feeling, I have 
had to plead your cause to the King. Here then, according to 
your own wishes, is what the King has accorded you. 

First, the reStoration of your medal which you have so 
well deserved. 

Second, the preservation of the title of Manufacture Royale, 
for your factory, if it be directed henceforth by persons of 
your choice. 

Third, the same favour accorded to the Manufactory of 
Courtalin, of which you are the owner. 

Fourth, the remittance of ten thousand francs for which 
you are surety. 

Fifth, and finally, an indemnity of 30,000 francs. His 
Majesty has graciously permitted, according to the decree of 
the Council of 1777, that you shall profit by the favour prom- 
ised by the King to citizens who have obtained the Medal of 
Industry, and commands, when your medal is restored to you, 
that I shall at that time present you to His Majesty, since you 
have not had this honour. 

I hope that these different decisions, and above all the 
assurance of the King’s favour, will reStore peace to a life 
which you have honoured by your talents and the uprightness 
of your conduct. 

I am, with my sincere regards, monsieur, 

Your very humble and obedient servant, 


(signed) Necker. 


Reveillon, in spite of Necker’s promise, was never to be 
presented to His MajeSty. When the medal so greatly prized 
by him was replaced by order of the National Assembly in 
1792, it was inscribed: 

The fourth Year of Liberty 
May 14th 1792 
The National Assembly has decided that this medal be 


126 HISTORIC WALL—PAPERS 


given to J. B, Reveillon to replace the Prize of Industry which 
he received from the King in the year 1786 for services 
rendered by him to the Art of Paper-making, and which 
was Stolen from him during the pillage of his house April 
20 2) 78.0: 

Reveillon betook himself to England after all the excite- 
ment had subsided. From London he arranged for the 
appointment of Jacquemart et Bénard as his successors in 
Paris: 

Six hundred of the citizens of the Faubourg St. Antoine 
drew up a document declaring that he was a good citizen and 
that they desired his return—guaranteeing that they would be 
responsible for his person and his property. But, broken in 
health and in spirit, Reveillon refused to come back to his 
own country, where in a few hours the results of twenty years 
of devoted labour had been swept away. He died in England 
a few years later. 

It is often said that Reveillon played a role in the history 
of papier pernt as important as that of Oberkampf in foz/e de 
‘fouy. ‘The lives of the two men have Strange parallels. 

Oberkampf, in 1768, with 600 francs’ savings, hired an 
abandoned building in Jouy; built his own equipment and 
began to manufacture his famous foz/es. He used many of the 
same arti$ts employed by Reveillon—Huet, for example, 
among them —as designers. In 1787, by edict of Louis XVI, 
Oberkampf’s factory became a royal manufactory. ‘The 
deStruction of the plant in 1815 by the invading Allies, after 
the battle of Waterloo, ruined him and he died that year of 
a broken heart. 

Both Oberkampf and Reveillon brought to their different 
arts a special sense of elegance and refinement and grace that 
has never been surpassed. 





ONE OF THE PANELS CALLED THE FIVE SENSES, BY REVEILLON 
Collection Charles Huard 





» av > 


PAPER IMITATING PAINTED PANELS 127 


While Reveillon was chiefly noted for the panels designed 
at his command by eminent artists, he also made all the usual 
sorts of papers that expressed the taSte of his day—papers cov- 
ered with garlands, scattered flowers, bouquets, and ribbons — 
in a word, all of the delightful trifles that were in favour dur- 
ing the epoch of Louis XVI. These papers are distinguished 
in design and in colouring. While they were moStly printed 
in colours from wood-blocks, they Still were given a few fin- 
ishing touches by hand. 

One of Reveillon’s finest series of panels isreproduced here. 
It was called ‘‘“The Five Senses”’ and is a decoration of great 
merit, exhibiting the qualities of beautiful drawing, delicate 
grace, and decorative feeling in which his work excelled. 
The background is a soft tone of greenish blue; the figures 
and decorationsare in grisaille. To complete the panel, there 
are narrow /améris, to be placed on each side, carried out in 
exquisite detail. 

Another series, designed by Cietti, the Italian, who natu- 
rally brought his national ideas to his work, is Pompeian in 
design. It has a pale-blue background with medallions and 
arabesques in faded tones of red and yellow and brighter blues. 
Such designs may be considered the forerunners of the coarser 
and less delicate Pompeian Styles that burSt upon Paris during 
the Directotre period. 

“The Grotto,” with nymphsand dogs and Stags, is another 
beautiful series of panels issued by Reveillon’s factory. Like 
the ‘‘Five Senses,” the designs are in grisaille against a back- 
ground of soft colour. It is not difficult to see how admirably 
they are planned to fit into Louis XVI dozserves. 

Reveillon inspired some notable effortsamong his competi- 
tors, chief of whom were the two Englishmen, Arthur and 
Robert, who had a shop on the Boulevard, on the corner of 


128 HISTORIC WALL-PAPERS 


the rue Louis le Grand. The few papers left by them show that 
they profited by Reveillon’s taSte and skill, Under Louis 
XVI they printed a series of panels representing the Muses, 
engraved by Ridé, and others with scenes from the life of 
Achilles. A series of eight panels in grisaille and sepia are 
among their masterpieces of printing. These reproduce the 
canvases of Boucher, Van Loo, Fragonard, Huet, and Charles 
Delafosse. 

Arthur was guillotined during the Terror; his partner 
continued alone to direct the business. In the year XII (1803) 
Robert’s address was 27 rue de la Place Vendome, and he 
was producing mosaic papers, many of which had Pompeian 
designs. 

THE SUCCESSORS OF REVEILLON 

Beginning in July, 1791, the factory of Reveillon was at 
his requeSt put into the hands of Jacquemart et Bénard. 
Reveillon could scarcely have chosen more worthy successors. 

In a technical sense, wall-paper had acquired a sureness 
of execution under the Old Régime difficult to excel. The 
engraving and printing of the blocks had attained the high- 
e&t point of perfection. To keep up this Standard of excellence 
was the task of the two men to whose hands Reveillon’s 
business was now entrusted. 

Pierre Jacquemart remained in the business until he died 
in 1804. His son René succeeded him and condué¢ted the 
enterprise with honour until 1840, when he retired. 

Jacquemart et Bénard at first continued all the traditions of 
Reveillon, using the same designs, as well as the same technique. 
The changing fashions of the day, however, soon forced them 
to abandon the old designsand to conform to the more pompous 
Style that was the result of Napoleon’s influence. 

‘“‘ Like all the other artists of the day,’ writes Maillou, 





TWO OVERDOORS BY ARTHUR ET ROBERT IN THE COLLECTION OF 
M. CHARLES HUARD 


SUT ‘sUBMS PUL SIOMOY ‘U99I13 ‘aseI[oJ ‘AlIvgGnq asol-dsap ‘puno1syxdVg 
ATIOL GALNIUd ONILVLINI WddVd AYOLNAO HLNAYLHOIM HONAW 


199}230} suo} J9q}0 33 [Te prog o} qoode siy3 
BULINP pasn a3uv1O JO FINO} ay) YWA ‘aIqIO ‘sjoyseg “sIIMOY Ul US913 pUk aSOI YIM PUNO’ sn[q-Us21H 
UAdVd IAX SINOT TOHILAVAdT V 





PeabERe IMITATING PAINTED PANELS 131 


** Jacquemart and Bénard felt the omnipotent influence of 
David. So, like every one else, they abandoned the Pom- 
padour and the Rococo, and made their sacrifices to the 
Greeks and Romans. Reveillon’s beautiful flowers gave place 
to lances, swords, and helmets; coquettish lines gave way to 
the severe ; agreeable colours were superseded by more serious 
ones ; grace fell before a pretentious Style.” 

Wall-paper was completely transformed in chara¢ter at 
this time. 

Curiously enough, the wall-paper business was one of 
the few induStries that survived and flourished in France 
during the Revolution. Houses like Damiens, Robert, Simon, 
Legrand, and Jacquemart and Bénard did not suspend busi- 
ness, but, on the contrary, increased their production. Several 
new houses were opened. DemoSthéne Dugoure and Anis- 
son-Duperron set up a Republican Factory of Wall-papers in 
the Place de Carrousel. The name should have been a war- 
rant of success, but alas, the career of this house was cut short 
by the condemnation to the scaffold of Anisson-Duperron ! 
Pignet pere and Bichon were inStalled in Lyons; the name of 
Legendre became well known. 

There was a twofold reason for this prosperity. In the 
first place, wall-paper was not considered an zndustrie de luxe. 
It was democratic in its essential spirit. Secondly, the economic 
crisis, which necessitated the spending of as little money as 
possible, was decidedly favourable to the use of wall-paper, and 
quantities of new designs were in demand to bring back some 
gaiety to the deserted salons. 

By an actual count of the old almanachs, we find in Paris 
in 1803 (An. XII) seventy-seven fabricants and dealers in wall- 
paper. In 1811 there are ninety-six ; in 1822, one hundred 


and eight; in 1836, one hundred and thirty-eight. 


132 HISTORIC WALL-—PAPERS 


Jacquemart, successor to Reveillon, was awarded medals 
in 1801, 1802, 1806, 1819, 1823, 1827, 1834. It 1s mmterest= 
ing to see that in 1836 his dépét is eStablished in the rue de la 
Paix. Ajump from the Faubourg St. Antoine to the rue de 
la Paix is in itself a witness to the increasing fashionableness 
of papier peint. 

Among the artists who worked for Jacquemart were 
Guérin, CoStain, a flower-painter, and Brock, who was a 
pupil of the two, and who will be heard of later as the artist 
who designed for Dufour the scenic paper known as “‘ Paul 
and Virginia.” 

In the list of patents and inventions of 1800 is a patent 
for five years, taken out the 28th germinal, An. VIII (April 
18, 1800), by Jacquemart and Bénard, for making wall-paper 
imitating mousseline, or linon batiste. This ingenious process 
won the firm the award of the jury in 1806. The result was 
obtained by covering a mauve, rose, or tender blue ground 
with a wash of white, and while it was still damp, laying on 
it a piece of actual embroidered mousseline, which took away 
some of the white and impressed the outline of its design and 
even the fashion of its weaving upon the surface. 

An issue of Le Mozs during that year called attention to 
this new invention by giving a sample of the paper with each 
copy of the magazine, and in an editorial protested vigorously 
against the granting of this patent. 

We believe it our duty to announce that the factory of 
Lyons called ‘‘At the Charité,’ and another factory of the 
same city, have already invented the same process. One 
of these factories about ten years ago received a patent on 
this invention, and there is even record of a lawsuit about 
this affair. 

In addition, we are also assured that the citizens Lerouge, 
rue du Colombier, have been making this paper for six months. 





FINE LOUIS XVI PAPER ATTRIBUTED TO JACQUEMART et BENARD 
Ground, pale blue ; flowers in soft, delicate colours, cupids and architectural details in grisaille 


134 


oes 
ab 





PAPER ILLUSTRATING ONE OF THE DELIGHTS OF THE 


LOUIS XVI WALL-— 


CHILDREN—THE PEEP-SHOW 


PEP RVI TAT ING PAINTED PANELS 135 


It is from their shop that we obtained the sample that is 
issued with this number. 
The citizen Robert, on the Boulevard, is likewise making 
such a paper; and also the citizens Philipon, Viole, and Leroy. 
In Alsace, at Rixheim, such a paper exiSts in the factory 
of the citizens Hartmann Rissler et cie. 


Just about this time a dona fide discovery was made, 
of inestimable value to the manufacturers of wall-paper. 
Nicholas Louis Robert, of Essdnes, found a way to produce 
paper of unlimited length, without seams and without divi- 
sions. ‘The patent is noted in the same issue of Le Mars. 
Robert took out a five years’ patent on January 18, 1799, and 
received from the kingdom the loan of 8,000 francs. Didot 
St. Leger, director of the factory, bought the machine with 
the patent rights from Robert for 25,000 francs. He after- 
wards went to England, where he carried out more improve- 
ments and sold the English rights to a relative. 

Meantime Robert, to whom Didot St. Leger had not 
made the payments agreed upon, brought suit and got back 
his patent rights for France in 1810. Didot tried to register 
the English patent in France, but lost his opportunity, since 
he neglected to come back to the country and set up a ma- 
chine in running order within the two years stipulated by law. 

In this way the important invention was a Stranger for 
some years in the land that had given it birth. 

From the list of papers printed by Jacquemart et Bénard, 
it is not difficult to follow the development of taSte, and the 
changes in ideas of decoration through the Revolution, the 
Directoire, the Consulate, and the Empire. In 1796 we see 
executed by this firm a decoration called ‘‘Diana,”’ painted by 
Huet. In 1793 there is a Revolutionary paper with the tri- 
color, the cockade, the fasces, and the Phrygian bonnet. In 


136 HISTORIC WALL—PAPERS 


1794 Jacquemart produced a curious paper of negroes féting 
Liberty. In 1795 came the paper called ‘“The Triumph 
of Law,” with pyramids and palms, influenced by the cam- 
paigns in Egypt. There followed medallions of Hoche and 
Barras, and ‘‘Bonaparte Crowned” in 1802. 

After the Revolution, wall-paper manufacturers were re- 
quired to register their designs. Many of these old documents 
muSt have been among the records of the Tribunal of Com- 
merce, which were deStroyed at the time of the Commune 
of 1871. Some of them &till exist in another national de- 
pository in Paris, and are mo&t intereSting to Study, for they 
exemplify the kind of wall-paper produced in France between 
Year VII and Year X (1798-1802). 

Apparently wall-paper was used during this time for con- 
stitutional propaganda, as well as for its legitimate purpose of 
adorning walls. Berthelot, in Year VII, printed a sign which 
was put inside the doors of the shops, informing the public, 
“‘here we have the honour of using the title of Citizen.”’ 
Hartmann Rissler issued a portrait of Bonaparte deStined to 
be placed in the halls of all the Mairies, 

Later in its history, in 1830, wall-paper served the same 
purpose. There are designs showing Louis Philippe holding 
a scroll which announces, ‘‘ From this time on the Charter 
will be an actuality ’’; and again a design in which a medal- 
lion showing the barricades in the Streets alternates with a 
medallion containing Louis Philippe stepping across the 
channel, a large umbrella clasped firmly in his hand. 


SNOdHIY AUIOW ALVLINI OL AAVW SYAadVd AYUNLNAO HLNAXLHOM OML 


FSP Ne nae a aE ae 


or ee 
ts aot 


Ls 





138 


“Coane 


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SHTRSSSRE 


pes aarp 


SSSOHOT HSE HES 
x i 


Seeyee 


REOTES ES 


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od 
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cf 
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* 


PAPER WITH DESIGN BY 


EIGHTEENTH CENTURY FRENCH WALL-— 


PHILIPPE DE LA SALLE TAKEN FROM PAINTED SILK 


CHAPTER VIII 


PERIOD IV 
PAPER IMITATING PAINTED PANELS—ENGLISH 


JOHN BAPTIST JACKSON 


CHAPTER VIII 
PERIOD IV 
PAPER IMITATING PAINTED PANELS—ENGLISH 


MR. JACKSON OF BATTERSEA 


T WAS with a view to making something different from 
the Chinese papers, which were being imitated in 
France by Papillon and in England by nearly all the 

wall-paper manufacturers of the eighteenth century, that John 
Baptist Jackson began the fabrication of classic landscapes and 
Statues for the decoration of walls. 


Jackson was born in 1701 and apprenticed to learn his 
trade to the engraver Kirkhall. He went to Paris in 1726, 
probably because he could not find occupation in his own 
country, for wood-engraving at that time was not a flourish- 
ing art in England. 

In Paris, we have news of him, not always to his credit, 
through the writings of Jean Michel Papillon, who says: 


On his arrival in Paris, he came to ask me for work. 
For several months I gave him something to do, to earn his 
bread, all of which he repaid with ingratitude by making a 
copy of a fleuron of my design and offering it, before deliv- 
ering the block to me, to the very person for whom I had 
had him make it. When this was discovered, I did not wish 
to employ him any longer on my wood-blocks; so he ran 
about to all the printers of Paris and offered his engravings 
ready-made for almost nothing. A number of printing shops 
took advantage of his distress and filled up with his work. 

They were done in a certain shallow and insipid &tyle, 
with small mosaics, after designs of snuff-boxes. 

Jackson, being obliged from sheer necessity to leave Paris, 
where he could get no work to do, travelled over France and 

I4I 


142 HISTORIC WALL-—PAPERS 


then, disgusted with his art, followed a painter who went to 
Rome. From there he went to Venice, where, they say, he 
got married, and afterwards went back to England, his own 
country. 


On his return to England, finding no demand for wood- 
cuts to illustrate books, he tried to turn his knowledge to 
the printing of paper-hangings, and opened a factory in 
Battersea, It was there that he produced the famous series 
of ‘‘Venetian prints’? mentioned by Horace Walpole, and 
the series of landscape panels and medallions which are a 
curious mixture of Piranesi and Pillement and Venetian 
influence. 

In 1754 Jackson published a book under the pretentious 
title, ““An Essay on the Invention of Engraving and Print- 
ing in Chiaro obscuro, as practised by Albert Diirer, Hugo 
di Carpi, etc., and the Application of it to the making of Paper 
Hangings of Taste, Duration and Elegance, by Mr. Jackson 
of Battersea. Illustrated with Prints in proper colours.” 

The book is written in the third person, largely about 
himself, and indicates a complete satisfaction with his own 
knowledge and skill as well as a somewhat lamentable 
ignorance of the work of his contemporaries and their pre- 
decessors. In it he Styles himself ‘‘author of that Paper 
Manufactory now carrying on at Battersea.” 

If we are to believe Mr. Jackson, he alone is responsible 
for the invention of printing paper-hangings in chiaroscuro, 
He remarks, in his bomba&stic style: 


After having said all this, it may seem highly improper 
to give to Mr. Jackson the merit of inventing this art ; but let 
me be permitted to say that an art recovered is little less 
than an art invented. The works of the former artists 
remain indeed ; but the manner in which they were done is 


PAPER IMITATING PAINTED PANELS 143 


entirely lost: the inventing then of the manner is really due 
to this latter undertaker, since no writings, or other remains, 
are to be found by which the method of former artists can 
be discovered, or in what manner they executed their works ; 
nor, in truth, has the Italian method, since the beginning 
of the 16th. century, been attempted by any one but Mr. 
Jackson. 


It is slightly disconcerting to find that Nicholas le Sueur 
had engraved several cuts in this manner about 1730, the 
very time when Jackson was living in Paris. The prin- 
ciples of the art had also been applied in France to the 
execution of paper-hangings upwards of fifty years before 
Jackson attempted to eStablish the same kind of manufacture 
in England. 

But Mr. Jackson’s assurance is complete. He wishes to 
enrich his native country with his discoveries. He asserts: 


Certainly Mr. Jackson, the person of whom we speak, 
has not spent less time and pains, applied less assiduity, or 
travelled to fewer distant countries in search of perfecting 
his art, than other men; having passed 20 years in France 
and Italy to complete himself in drawing after the best 
masters in the beSt schools, and to see what antiquity had 
most worthy the attention of a Student in his particular 
pursuits, After all this time in perfecting himself in his 
discoveries, like a true lover of his native country, he is re- 
turned with a design to communicate all the means which 
his endeavours can contribute to enrich the land where he 
drew his first breath, by adding to its commerce, and 
employing its inhabitants, and yet, like a citizen of it, he 
would willingly enjoy some little share of those advantages 
before he leaves this world, which he mu&gt leave behind 
him to his countrymen when he shall be no more. 


In favour of his own papers and in disparagement of the 
Chinese Style, he launches this diatribe: 


144 HISTORIC WALL-PAPERS 


It need not be mentioned to any Person of the least 
Taste how much this Way of finishing Paper exceeds every 
other hitherto known; ’tis true, however, that the gay, 
glaring Colors in broad Patches of red, green, yellow, 
blue, etc., which are to pass for flowers and other Objects 
which delight the Eye that has no true Judgment belong- 
ing to it, are not to be found in this as in the Common 
Paper—but colors softening into one another, with Har- 
mony and Repose, and true Imitations of Nature in Draw- 
ing and Design. Nor are there Lions leaping from Bough 
to Bough like Cats, Houses in the Air, Clouds and Sky upon 
the Ground, a thorough Confusion of all the Elements, nor 
Men and Women with every other Animal, turned Mon- 
sters, like the Figures on Chinese Paper, ever to be seen in 
this work. 

Jackson’s papers were all printed in oil with wooden 
blocks worked by a rolling press which seems to have been 
an invention of hisown. Apparently they were done in three 
or four colours ranging from cream, through sepia, to black. 
The engravings made by him in Rome and Venice, copies of 
Rembrandt and Titian and other old masters, were used as 
the subjects. 

He speaks of their advantages and their qualities. 

By this way of printing paper, the Inventor has contrived 
that the Lights and Shades shall be broad and bold and give 
great relief to the Figures; the finest prints of all, the Antique 
Statues, which imitate Drawings, are introduced into Niches 
of chiaro obscuro in the Pannals of the Paper—these are 
surrounded with a Mosaic work in imitation of Frames, or 
with FeStoons and Garlands of Flowers, with great Elegance 
and Taste. 

Thus the person who cannot purchase the Statues them- 
selves may have these prints in their places, and may as effec- 
tually show his Taste and Admiration of the ancient Artists 
in this manner of fitting up and furnishing the Apartments 





FRAGMENT OF WALL-PAPER FROM DODDINGTON HALL, LINCOLNSHIRE, PRINTED BY JOHN BAPTIST JACKSON 
Done in oil-colours from wood-blocks. (Victoria and Albert Museum) 


10 





ggZi payep st Jaded siq.y, ‘eidas ‘siapiog od0D0y ‘punois Aai3-ysiyuld & UO Uae13 ‘sUINY 
AUIHSUALSAONOTD ‘ALY M-dAH.L-NO-NOLUNO” ‘ASQNOH NOLONIUVH JO TIVH WAddA AHL NI WAdVd VASUALLVA AO NOSHOV! V 





147 





A JACKSON OF BATTERSEA PAPER IN THE UPPER HALL OF HARINGTON HOUSE, BOURTON-ON-THE-WATER, GLOUCESTERSHIRE 
Ruins, green on a pinkish-grey ground, Rococo borders, sepia. This paper is dated 1786 


—— |? 


148 





Ogdt parep st iaded siyf, ‘vidas ‘s1api0q ov000y ‘punos3 Aa13-ysiyurd & uo uses ‘suny 
AYLHSUALSHONOTS ‘AALVYM—-FH.L-NO-NOLUNOd ‘ASQOH NOLONIYVH JO TIVH WAddA AHL NI UAdVd VASUALLVA AO NOSNOVI V 








Powe Vit baAtiING PAINTED PANELS 149 


as in the moSt expensive. ’Tis the choice and not the price 
which discovers the true taste of the possessor ! 

Among the Statues destined thus to be introduced into the 
daily life of the English nation were the Apollo Belvedere, 
The Dying Gladiator, and the Venus de Medici. The land- 
scape subjects included designs after Claude Lorraine, Salvator 
Rosa, and Canaletto’s Views of Venice. 

Saloons in Imitation of Stucco may be done in this man- 
ner, and Staircases in every TaSte as may be agreeable. 

These papers being done in oil, the Colour will never 
fly off—no water or damp can have the least effect on it. 

Curiously enough, two of Jackson’s papers, never before 
recognized as his handiwork, have been found in two im- 
portant historical houses in America. 

One set was in the original Van Rensselaer Manor House 
in Albany, and since its removal has been kept in the pos- 
session of Mr. William Van Rensselaer. It was brought from 
Holland at the time the house was built, and hung in the 
hallway. When the house was dismantled, part of it being 
given to Williams College and some of the interior wood- 
work being built into the present Van Rensselaer house, the 
queStion of the removal of the paper was a serious one. The 
task was finally accomplished by hanging saturated sheets in 
front of the paper panels until the moisture penetrated them 
and made them roll off the walls. Jackson’s claim that water 
or damp would not affect the colour was subStantiated—the 
paper suffered no ill effects. 

The borders of the Van Rensselaer panels were in lemon 
yellow—the landscapes in sepia. 

The second set of Jackson’s papers that came to America 
is to-day in the Jeremiah Lee Mansion in Marblehead, now 


occupied by the Marblehead Historical Society. This latter set 


150 HISTORIC WALL—PAPERS 


was purchased in 1768 at 11 Regent Street, London, which 
was evidently a dépét for the products of the Battersea Factory. 

In both of these sets, the panels are surrounded by very 
elaborate, printed Rococo frames, intended to represent the 
Italian idea of Stucco work to which Jackson was so de- 
voted. The views consist of large, Piranesi-like landscapes 
and ruins. Between them small medallions were used, also 
surrounded by important Rococo frames. Panels of tro- 
phies completed the decoration: small overdoor motifs and 
corner ornaments were added to leave no wall-space un- 
adorned. 

Happening to have in my possession a complete set of 
photographs of one of Jackson’s papers in Harington House, 
England, I spent an intereSting hour comparing them with 
the two papers in this country. One of the Harington 
House panels is identical with that in the Albany Manor 
House. Another panel in the Manor House is identical 
with that in the Lee Mansion. In addition, the frames, 
the general Style, and the arrangement of the three papers 
are so Strikingly similar that there is no queStion that they 
were done by the same hand. 

Notwithstanding Mr. Jackson’s efforts to counteract the 
tendency to Chinese design, the fashion persisted. Chinese 
methods were used, as well. ‘These consisted largely in the 
intermixing of printing and painting, and are best exempli- 
fied in England by the work that was done in the factory of 
the Eckhardts, in Chelsea. 

Public opinion seems to be unanimous that the majority 
of Jackson’s papers were atrocious when they were in place. 
But Horace Walpole writes of them so delightfully that we 
cannot resi§t quoting the letter in which he speaks of the 
Venetian prints, ‘They were used in Strawberry Hill, “that 


151 


ONE OF JACKSON’S VENETIAN PRINTS IN STRAWBERRY HILL, THE HOME 
(Courtesy of the Upholsterer) 





OF HORACE WALPOLE 


E52 





S VENETIAN PRINTS IN STRAWBERRY HILL, THE HOME OF 


> 


ONE OF JACKSON 


HORACE WALPOLE 
(Courtesy of the Upholsterer) 


PAPER IMITATING PAINTED PANELS 153 


plaything house’ which he bought from Mrs. Chevenix, a 
fashionable toy-dealer, ‘I got it out of Mrs, Chevenix’s 
shop,’ he writes, ‘‘and it is the prettiest bauble you ever 
saw. It is set in enamelled meadows, with filigree hedges. 
* * * Dowagers as plenty as flounders inhabit all around 
and Pope’s ghoSt is just now skimming under my window 
by a moSt poetical moonlight * * * I have about land 
enough to keep such a farm as Noah’s when he set up in 
the Ark with a pair of each kind.”’ 

Weare finally admitted to the mansion. ‘‘Now you shall 
walk into the house; the bow-window leads into a little parlour 
hung with a Stone-coloured Gothic paper and Jackson’s Vene- 
tian prints: from hence you come to the hall and Staircase. 
Imagine the walls covered with (I call it paper painted in 
perspective to resemble) Gothic fretwork. The room on the 
ground floor nearest you is a bed-chamber hung with yellow 
paper and prints framed in a manner invented by Lord Cadogan, 
with black and white borders, printed; over this is Mr. Chute’s 
bed-chamber, hung with red in the same manner ; in the tower 
beyond it is the charming closet where I am writing to you. 

It is hung with green paper and water-colour pictures; out 
of this closet is the room where we always live, hung with a 
blue and white paper, adorned with feStoons, and a thousand 
plump chairs, couches and luxurious settees, covered with 
linen of the same pattern. Underneath this is a cool little 
hall where we generally dine, hung with paper to imitate 
Dutch tiles. 

All this is interesting because it sheds light on the popu- 
larity of wall-paper at the time. Not a room in Strawberry 
Hill was unpapered, to judge from this account. 

In a later letter Walpole confesses that he had been un- 
able to like the Venetian prints so long as they pretended to 


154 HISTORIC WALL—PAPERS 


be copies of Titian. ‘‘ When I gave them the air of barbarous 
bas-reliefs,’’ he says, ‘‘they succeeded to a miracle.”’ 

Although Jackson did not attain his desire of making his 
statues and reproductions of the antique a vital part of English 
life, he is by all means the moSt important and the moS&t in- 
teresting designer of his time in England. 





THE MONUME 





rs OF PARIS, DESIGNED BY BROCK AND ISSUED BY DUFOUR IN 1814 


Formerly in the Cook-Oliver house, Salem: recently acquired by the Society for the Preservation of New England Antiquities 





SA 


CHAPTER IX 


PERIOD V 
THE EPOCH OF SCENIC PAPERS 


JEAN ZUBER JOSEPH DUFOUR 
ALL-OVER DESIGNS OF THE PERIOD 





CHAPTER IX 
PERIOD V 
hit bh vOCH OF SCENIG PAPERS 
ATE in the eighteenth century began the fifth great epoch 


of wall-paper in France, which may be characterized 
as the Epoch of Scenic Papers. 

This particular period is perhaps of more intense interest 
to America than any preceding it. French and American 
blood had just been shed in a common cause; the relation 
between the two countries was warm and close. What was 
done by the French set the fashion for America. Hence 
many of the new designs in scenic papers that were the ex- 
citing novelty in Paris were brought to this country to be 
placed in American homes, where they may Still be seen 
to-day. The history of scenic papers in France thus also 
becomes the history of scenic papers in America. 

The Stress and Struggle of early colonial days were over. 
Prosperity and even wealth was developing among certain 
families. Freed from worry about the insiStent necessities 
of life, Americans had time to give more attention to the 
adornment of their homes and were able to indulge them- 
selves in some of the ‘“‘costly importations.”’ 

It was still a matter of moment, however, when one of 
these scenic papers was brought over as a wedding-gift or a 
birthday or anniversary present by some sea-captain specially 
charged with its transportation. The paper was carried across 
the ocean in its original small sheets, these being sometimes 
wrapped in tin-foil tubes to protect them from the dampness of 
the sea trip. Each one was numbered, and when they reached 

157 


158 HISTORIC WALL-—PAPERS 


their deStination they were put together on the walls by the 
aid of a chart, after the fashion of children’s picture puzzles. 

Very few scenic papers found their way below the Mason 
and Dixonline. ‘They Stayed moStly in or near the Northern 
seaport towns where they landed. To the dwellings of the 
old New Englanders they brought a riot of colour that appeared 
almost licentious after the severity of whitewashed walls. 
They filled the rooms with movement, with romance, and 
with light. Around the prim furniture they created a glamour 
of adventure that was Strangely incongruous and eminently 
satisfying. They gave the exact note of abandon needed to 
redeem the asperity and bareness of these colonial interiors. 
Southerners, however, preferred wood-panelled rooms to these 
luxuries of paper. 

It has been eStimated that over two hundred examples 
of French scenic papers of the early nineteenth century are to 
be found in various places in this country, Still in an excellent 
State of preservation. The work of making a complete cata- 
logue is difficult and discouraging because of the amazing lack 
of information possessed by moSt of the present owners, ‘‘I 
have no idea what the paper is called.”’ ‘‘’There is no name 
on it.” ‘I do not know what scenes it represefitssaumeaame 
was imported from Holland or England and must therefore 
be Dutch or English.’ ‘These are some of thevrepiiesure 
queStions asked by letter. Nevertheless two years of work 
have enabled me to include in this volume a list of one hundred 
and forty-three examples and their owners. 

All of the famous papers can be easily identified and dated. 
The preparation of such a decoration was a matter of no small 
importance. A year or more was spent in engraving the 
blocks. ‘The fact of this undertaking was noised about, and 
the name of the paper was registered, almoSt as if it were a 


iin bee POCHROER SCENIC PAPERS 159 
child of the fabricant. The number of Strips that constituted 


a complete paper is generally known. 

Possibly the description of noted papers complete with 
their dates and their sizes, here published for the first time, 
may be of aid to future generations in identifying their heir- 
looms. ‘The list may also serve to correct the erroneous im- 
pression that the size of the room was sent abroad and the 
paper made expressly to fit. It is quite possible that who- 
ever was entrusted with the delicate mission of selecting a 
scenic paper to bring back to this country was given the 
number of running feet in the room as a guide. If a paper 
with only twenty panels proved too small, he was obliged 
to choose another containing twenty-four or thirty Strips. 
Scenic papers were not ‘‘made to measure.’’ ‘This was 
possible only with papers that were painted by hand, of 
which there is an account in the following chapter. 

It is a common error, repeated invariably by most of the 
would-be historians of wall-paper, to State that the first 
scenic paper printed in colour was the ‘“‘Vues de Suzsse,”’ by 
Zuber, which appeared in 1804. 

The frontispiece is an illustration in colour of a paper 
owned by the Metropolitan Museum which proves that this 
cannot betrue. Itisa pure Derectotre paper, made by Robert. 
The charming little figures and the architectural features are 
in grey and sepia; the trees are of a gentle green, and the sky 
is melting blue. This paper must have antedated the 
“Vues de Suisse’? by ten years or more. Mrs. Paul Moore 
of Convent, New Jersey, and Mrs. George Fales Baker, Jr., 
of New York, both own complete rooms of this delightful 
old design. 

There is another beautiful Dvrectotre paper, which, so 
far as I know, exists only in the two places in this country 


160 HISTORIC WALL-—PAPERS 


—a house in Salem and a house in Nantucket where it has 
recently been removed from the walls. It has arches 
formed of small white flowers, solidly massed, and slender 
columns wreathed with them. Between the arches, against 
the blue sky, are landscapes and architectural scenes in gris- 
aille, and in the foreground are small figures reminiscent of 
designs of Bosio. 

Both of these early scenic papers are comparatively 
simple so far as the problem of colour-printing goes, and 
are limited to a repetition of the design within a certain 
number of Strips, but they possess every element that cre- 
ated the success of landscape paper—charm of composition, 
imaginative unfolding of a Story, diversity of subject, and 
delight of the colour sense. We may be sure that, where 
an atelier had a Staff capable of producing two such papers, 
there must have been more from the same source, although 
we have no record of them. 

We are indebted to Mr. Harry Wearne for the informa- 
tion that Jacquemart et Bénard published at least one 
scenic paper. 

Years ago, in the attic of a house in Albany, Mr. Wearne 
discovered an old paper with the maker’s name on the back. 
It proved to be the same hunting paper that is to be found 
on the walls of the John Albion Andrew house in Salem, 
built in 1818 and later owned by the Saffords. ‘The mark 
is a monogram made up of R, J, and B, intertwined, and 
was the stamp used by Jacquemart et Bénard when they 
were appointed Reveillon’s successors. 

Even half a century before the Directozre period, makers 
of papiers tontisses had created what were practically scenic 
papers in their large panel pictures, which imitated land- 
scapes, seascapes, and figure-paintings in natural colours, In 


161 





GRISAILLE PAPER, EARLY NINETEENTH CENTURY, WITH LANDSCAPE AND MARINE SCENES 
(Courtesy of Metropolitan Museum) 


II 


162 





TWO EMPIRE WALL-PAPER PANELS IN BRILLIANT COLOURS 
Representing America in the garb of an Indian with a macaw, and Christopher Columbus with the Spanish flag 





* 


1 ng ton 





LES PORTIQUES D’ATHENES 
Wall-paper panels in the dining-room of J. Bayard Verplanck at Fishkill on the Hudson, New York 


Wall-paper panels 





LES PORTIQUES D’ATHENES 
in the dining-room of J. Bayard Verplanck at Fishkill on the Hudson, New York 











fie EP POCHsOR SCENIC PAPERS 165 


preceding pages has been given Jean Michel Papillon’s de- 
scription of one of these papers in the Chateau de Bruyeres, 
and we have seen how Simon in 1735 applied for permission 
to make landscapes and verdures by means of chopped wool. 
The Roman ruins and Venetian scenes brought out in Eng- 
land toward 1750 by Jackson of Battersea were also virtually 
scenic papers. All these first attempts should carefully be 
Studied to understand the development of landscape walls. 

Unlike their anceStors, however, the scenic papers of the 
nineteenth century were generally planned, not to use in 
panels, but to cover the walls of a room completely, running 
above a wainscot or a chair-rail in a continuous scene without 
repetition. ‘The usual number of Strips in a landscape paper 
of this sort varied between twenty and thirty, which, allowing 
for openings such as doors and windows and fireplace, was suffi- 
cient to cover the walls of a fair-sized room. 

Scenic papers were brought into special prominence by 
Jean Zuber and Joseph Dufour early in the eighteen hundreds. 

Zuber had been for five or six years a travelling salesman 
for the Nicholas Dolphus Textile and Wall-paper Printing 
Company of Mulhouse in Alsace, which was founded in 1790 
by Jean Jacques Dolphus. In 1797 the eStablishment passed 
into the hands of Hartmann Rissler et Cie, who put Jean Zuber 
in charge. He was commissioned to find new and cheaper 
quarters for the business and selected the Hospice of the Teu- 
tonic Knights on the hills of Rixheim, setting up forty-eight 
printing tables in the halls and the refectory of the old 
Commandery. 

In 1802 Zuber became sole proprietor of the factory. 
His agent in Paris was the Widow Puzenat, at 16, rue de 
Reuilly. There was Still an office at Mulhouse, in care of 
Engelmann Thierry. 


166 HISTORIC WALL—PAPERS 


In 1820 a mill at Roppenzwiller was added to the plant, 
to produce raw paper and chemicals for making the colours. 
The Zuber manufactory in Rixheim was the first to print con- 
tinuous rolls in colour, in 1829. In 1850 Zuber brought 
back from Manchester, England, the first printing machine 
used in France with rollers around the circumference of a 
huge drum. A few years later almost all wall-papers were 
printed by cylinder machines. 

Jean Zuber, like Reveillon, believed in employing the 
beSt artists as designers. The most notable member of his 
Staff was an arti$t from the Royal Manufactory of the 
Gobelins, Joseph Laurent Malaine, who took refuge in Alsace 
with Zuber at the beginning of the Terror. The son of a 
Flemish painter of some merit, Malaine excelled in the treat- 
ment of flowers in vases and baskets. His ‘‘ Parrot and basket 
of flowers’? and some of his decorative overdoors are well 
known. Mongin, Rugendas, Ehrmann, Zipelius, Fuchs, and 
Deltil were also among Zuber’s good designers, 

What may be called a preliminary attempt at making little 
landscapes in medallions had been essayed by Zuber in 1802. 
This is a paper with South Sea Island native scenes, framed 
with wreaths of coral and shells. Asample was registered and 
still exists in the legal dépét in Paris. In 1804 was issued the 
paper called the ‘‘Vues de Suisse,’ mistakenly given credit for 
being the first printed landscape paper. It was designed by 
Mongin. Crude in colour and in Style, it nevertheless aroused 
great interest. 

After the launching of the Vues de Suisse, Zuber appears 
not to have made any pretentious attempt at landscape paper 
until 1825, when he brought out Paysage des Lointains, and 
1830, when he issued the Paysages de Brési/ in colour, painted 


by Rugendas. 





SCENIC PAPER IN THE ABRAHAM WHEELWRIGHT HOUSE, NEWBURYPORT, MASS. 





iPHE EPOCH OF SCENIC PAPERS 167 


’ 


“Scenic America’ was first printed in 1834. It was 
painted by Zipelius and Ehrmann with views in colour of 
WeSt Point, Niagara Falls, New York Bay, Boston Harbor, 
the Natural Bridge in Virginia, and a dance of the Winnebago 
Indians. ‘This is especially notable as showing that the in- 
terest between France and America was reciprocal. 

In 1838 came the Horse Race, in grisaille, the actual title 
of which is ‘‘ Courses des Chevaux.”’ This paper showed racing 
in Rome, obstacle-racing in France, and flat-racing at New- 
market. ‘This same year Zuber issued an interesting paper 
called the ‘‘ War of Independence,” which is little known in 
this country, since it has not been printed for over sixty years. 
It represents our Continental soldiers and the important 
English, French, and American generals of the Revolution. 

“Isola Bella’ was brought out in 1843, and ‘“‘Eldorado’’ ap- 
peared in 1848 in colours, designed by Ehrmann and Zipelius. 
“The Zones’’ were later added to the long list of successes 
achieved by this house. 

One of Zuber’s early papers has been discovered in the 
hiStoric home of Martin Van Buren, in Kinderhook, New 
York. Itisthe Paysage a Chasse, in colours, of 1831, which 
completely fills the two sides of the great entrance hall. 

The Van Buren house, called ‘‘Lindenwald,’’ was begun 
by Peter Van Ness in 1780, improved by his son Judge Van 
Ness, and again enlarged and improved by Mr. Van Buren, 
who purchased the place after he returned from Washington, 
named it, and gave it its chief distinction. Martin Van Buren 
passed twenty years of his retirement there on his two hundred 
acres in Kinderhook. 

George Alfred Townsend, in an account of his visit to 
“‘TLindenwald”’ which appeared in the New York Sun, May 
24, 1891, says: 


168 HISTORIC WALL-—PAPERS 
The feature of this hall, I had almoSt said its beauty, is 


the foreign wall-paper, in large landscapes, representing 
hunters on horseback with guns and dogs breaking into Rhen- 
ish vales, where milkmaids are surprised and invite flirtations. 

The human figures are nearly a foot high ; the mountains 
and woods, rocks and Streams, panoramic ; the colours, daring 
and loud. 

I liked it because it was Dutchy and took Van Buren, who 
put it here, into the atmosphere of Jordaens and Van der Halst. 
About three panels of the landscape were on each side wall 
five or six feet high, with a sky above that to the ceiling. 

Here, no doubt, sat old Martin many a warm afternoon, 
taking the breezes from the Berkshire hills to the Catskills. 


Mr. Townsend omitted in his description one of the most 
intereSting features of this paper—the printed baluStrade 
about 16 inches high. Below the baluStrade is a baseboard 
with groups of flutings. 

The colour of the paper is indeed like that of Dutch 
pictures. There is a blue-green sky (evidently painted over), 
a Strip of sunlight above the horizon, and, below that, groups 
of hunters and dogs, horses, trees, and rocks, in warm tones 
of brown and green with bright colours in the costumes. The 
coat of varnish that has been given to the paper has added to 
the rich and deep old tones. 

There are fifty-one Strips of this paper in all in the hallway. 
Since the original paper contained thirty-two Strips, a full set 
and part of another were evidently employed to cover the 
walls. Unfortunately they were applied dire¢tly to the plaster 
and are sadly in need of reStoration. 

Zuber had the honour of being the only manufacturer in 
the provinces who rivalled the productions of the Parisian 
makers. In Paris, Joseph Dufour was at the head of the group 


of men who were making distinguished picture papers. 





PAYSAGE A CHASSE, PRINTED BY ZUBER IN 1831 
A coloured landscape paper in the hall of Lindenwald, the house of Martin Van Buren, at Kinderhook, New York. A feature of the paper is the printed balustrade that runs the 
length of the hall 








PAYSAGE A CHASSE, PRINTED BY ZUBER IN 1831 
A coloured landscape paper in the hall of Lindenwald, the house of Martin Van Buren, at Kinderhook, New York. A feature of the paper is the printed balustrade that runs the length 


of the hall 


THE EPOCH OF SCENIC PAPERS ae 


Dufour came from Macon in 1807 and eStablished in Paris, 
at 10, rue Beauveau, the factory which is to-day occupied by 
Charles Follot. The old building has yielded up many of 
the secrets of its former occupant to the observing and sym- 
pathetic tenant of to-day. When I met and talked with Mon- 
sieur Follot last summer, he was full of enthusiasm over some 
of his latest discoveries. 

The most important is the finding of Dufour’s account- 
books from the years 1824 to 1831. ‘These Monsieur Follot 
brought out with delight to show me. They are written in 
Dufour’s own handwriting and furnish not only the list of 
scenic papers which he was publishing at the time, but the 
prices at which they were sold, and the various purchasers. 
It is very intereSting to read that the price for a set of the 
Monuments de Paris was fifty francs, and that of the Vues 
d Italie, twenty-five francs. A very badly reStored set of the 
Monuments was recently offered in Paris for ten thousand 
francs. A fine set was sold lately in New York for twenty-five 
hundred dollars. 

In a room which was formerly a bedroom, and which 
Monsieur Follot has just converted into an office, he made 
another discovery. ‘‘My father always told me,” he said, 
“that he felt sure there was a set of the original Cupid and 
Psyche paper on this wall under the present wall-hangings. 
When we began our alterations, we uncovered a large panel 
of the paper. On it was written by Dufour himself, as you can 
see by comparing the handwriting with that of the account- 
books, ‘This paper was invented by Joseph Dufour in the year 
1816.’ I was so elated that I felt like telephoning immediately 
to M. Clouzot to come quickly! It eStablishes the date of this 
paper, which has been in question for so long.” 

Monsieur Follot’s father, when he purchased the building, 


172 HISTORIC WALL—PAPERS 


found a room Stacked with old wood-blocks that had been 
used in printing Dufour’s papers. Since these blocks were 
not included in the purchase price, he went to Dufour’s 
daughter, then Madame Bergeron, to inquire about them. 
““Can I purchase them?”’ he asked. 

“If you will donate the money to one of my charities,” 
answered the quick-witted Madame Bergeron. Follot in 
this way acquired the blocks for Les Incas and other papers 
of Dufour, and at the request of Madame Bergeron deposited 
the money for the benefit of the children who work in the 
wall-paper factories. The hundreds of small boys who act 
as ‘‘aids,’’ hanging the long Strips of paper up to dry, and 
the young girls employed in the ateliers in different capac- 
ities thus benefited by the kindness of the daughter of one 
of the great patrons of the wall-paper induStry. 

Monsieur Follot also owns, among other treasures, the 
original designs in colour that were made for many of Du- 
four’s papers, among them those for the ‘‘ Twelve Months 
of the Year,’ done by Fragonard fils in 1808, and the 


”» 


design for ‘Les Incas. It is interesting to compare these 
originals with the reproductions. ‘The original of Les Incas 
is, for example, much softer and more agreeable in colour 
than the printed paper. ‘<I believe that it was the artist’s 
intention,’ says M. Follot, ‘‘to produce the paper in a 
more delicate colour-key, but the bad taSte of the time de- 
manded Strident colouring, and the paper was printed to suit 
the public taste.” 

The papers of Dufour were undoubtedly the most pop- 
ular scenic papers in America. The “Monuments de Paris” 
and the “Vues d’ Italie”? were especial favourites. The list 
appended to this book, although not a complete catalogue, 
shows this at a glance. | 





DIRECTOIRE WALL-PAPER WITH ARCHES OF GREEN FOLIAGE ON BLUE GROUND. BY DUSERRE ET CIE 
Figures and details in rose and salmon. (Musée des Arts Decoratifs) 


(sse1009q Sy Sap aasN) *a[[!¥S|UB pue asol Uy aie 
sjNoul oy,L “punos3 aniq-a[ed uo aZeT[oy uae13 jo sapeoie pue sUOT[[epauT qa Joded-[[ea 2470197741q 
ANIVLNOA V1 AO SAaTAVA AHL 


vidas pue a][resus 
JO suo} ur ‘}iN41y pue Alodeip qm Joded-[[em 3470299417 
saadao V AGNVadAO 





THE EPOCH OF SCENIC PAPERS is 


Dufour began his career by making drapery papers. He 
divided the walls of a room into long narrow panels, sepa- 
rated by lances, garlands, or architectural ornaments, between 
which he placed paper imitating folds of silk. Sometimes 
these folds were arranged in the direction of the width, more 
often they were dropped lengthwise, from the frieze to the 
base, in the form of curtains. ‘To accompany these draperies 
he printed galons and tassels, flowers and ornaments in gilt, 
to run along the frieze. A whole room of this drapery- 
_ paper exists to-day in the old Pickering house in Wenham, 
Mass., where it was placed in 1806. It is done in browns 
and tans, with an embroidery design in white at the top and 
base of the drapery. 

Drapery-papers, like every novelty, had a certain vogue. 
But very soon Dufour turned his attention to the making of 
more important decorations for rooms. He printed in 1805 
and showed at the Exposition in 1806 the paper that made 
the beginning of his fame, which he was to crown later with 
the achievement of the ‘‘Cupid and Psyche’’ paper. The 
first scenic paper of Dufour’s, said to be ‘‘the most curious 
product of its kind that the art had yet produced,”’ is entered 
in his ledger under the name of “‘Paysage Indien et Voyages 
du Capitaine Cook.’ It is better known, however, as 
“Sauvages de la Mer Pacifique,” since Dufour published a 
small descriptive booklet under this title in the year XIII 


+) 


(1804-1805) from the press of Moiroux of Macon. A 
copy of this rare booklet Still exists in the library of Macon. 
Another is in the possession of Mrs. Zilpha I. Smith of 
Augusta, Maine, and through her kindness I am able to 
print a translation (see chapter XIII). The scenes in the 
paper are ‘(Composed upon discoveries made by Captain 


”? 


Cook, La Pérouse, and other travellers. 


176 HISTORIC WALL—PAPERS 


At least four sets of this interesting paper came to 
America, An incomplete set is in the Pennsylvania Museum 
in Fairmount Park, Philadelphia, presented by Dr. Anna 
Mitchell McAllister. Another series has been discovered 
in the Ham house in Peabody, Massachusetts. Miss Annie 
Symonds, the present owner, says that there was once a 
‘““Key’”’ to the paper, which has disappeared. Still a third 
set is in the Ruel-Williams Mansion, 74 Coney Street, 
Augusta, Maine, where it was placed in 1807. A fourth set 
has just come to light in the possession of Mrs. Charles A. 
Brown, 40 CheStnut Street, Salem, Massachusetts. This set 
has never been hung; it was given to Mrs. Brown by her 
grandmother, a very Straitlaced lady, who, unfortunately, 


destroyed three of the Strips, which she regarded as “‘im- 


proper.” 

The Captain Cook paper is like tapestry in its effect, rich 
and full in colour, and moSt picturesque with views and 
costumes of the islanders. 

The ‘“Galérie Mythologique,”’ a classic paper in grisaille, 
was printed by Dufour in 1814. The only known set in this 
country is in ‘‘ Vizcaya,”’ the house of Mr. James Deering, at 
Miami, Florida. Composed of 24 Strips, this paper repre- 
sents The Vengeance of Ceres, Phaeton and Apollo, Venus 
and Diana, The Judgment of Paris, Time and the Seasons, 
and The Muses. In addition there were six Strips with 
beautifully designed trophies or accessories, to be used be- 
tween the panels. 

But Dufour’s masterpiece was to be ‘Les Amours de 
Psyché”’ (Cupid and Psyche). The commission to design it 
was given to Louis Laffitte, who had won the Grand Prix de 
Rome in 1791. Four of his designs were exhibited in the 
Salon of 1817. Mader pere made the cartoons for engrav- 


EE 


HEBE, JUNO, CERES, DIANA, AND VE 





NUS, DECORATIVE PANELS PRINTED BY DUFOUR ABOUT 1830 
Grisaille on a rose background 


12 





punoss MOT[2A4 UO UMOIG-pai JO SIU], P[O3 pur 9]01A Uy saINSY ‘YD"[G UI P2UI[|NO sazuazo] ‘punois Moj[aé-uoUrI| a[e&q 
NOISdAd AVAT V HLIM YAdVd UAAO-TIV AAIOLIAUIC AIAWIS V NOWIS Ad UAdVd AAIOLIAUAIA 





THE EPOCH OF SCENIC PAPERS 179 


ing the 1500 blocks. All but thirty of these blocks are be- 
ing used to-day in printing the modern edition of the famous 
paper. Thirty new blocks have been substituted in place of 
those that were worn out. 

The Cupid and Psyche paper is purely Neo-Classic in 
design; the figures are drawn with great elegance and grace ; 
and the old mythological Story is told in twelve different 
pictures that will always remain the most distinguished pro- 
duction of their epoch. 

A panel of an original set of Cupid and Psyche was dis- 
covered back of a large mirror in the house in Salem built 
by John Albion Andrew in 1818, and later owned by the 
Saffords. An original set is in the Bonaparte house in Phila- 
delphia, now owned by Mrs. Walter James. The Rosen- 
bach Galleries in Philadelphia also own an original set. In 
one of the most famous Empire interiors in France, the 
Chateau de Valengay, a set was inStalled at the time of pub- 
lication and is Still in place. Here it is used as a frieze 
above a wainscoting in an extremely high-ceilinged room. 

Other scenic papers that made Dufour’s name a house- 
hold word were ‘Les Francais en Egypte’? (The French in 
Egypt), of which a set is in the Chicago Art InStitute, and 
<‘ Tes Monuments de Paris,’ which, as we have said, is to be 
found in twelve different localities in New York, New 
England, and Virginia. 

“< Paul et Virginie’? was printed by Dufour in 1820, and 
designed by Brock. It has been found in but one house in the 
United States—the Blaine house in Carlisle, Pa., now owned 
by Mr. J. Webster Henderson. 

About the same time appeared ‘(Les Rives de Bosphore’ 
(The Banks of the Bosphorus), examples of which are in the 
house of Mrs. Rodney Mason, Sacket Harbor, New York ; 


’ 


180 HISTORIC WALL—PAPERS 


in a house on Maple Street, Montpelier, Vermont, where it 
was placed in honour of a visit of Lafayette ; and in the draw- 
ing-room of the Col. William Raymond Lee house in Marble- 
head, Mass., now owned by Mr. Kemble. A fragment is to 
be found in the Monroe Tavern, Lexington, Mass, 

The colourful paper called ‘‘ The Adventures of Telema- 


>) 


chus”’ was printed by Dufour in 1825, and also proved to be 
a popular paper in America. Andrew Jackson was so de- 
lighted with it that he put it in the hall of ‘‘ The Hermitage,” 
and it may be seen in many other less notable houses. 

The Bay of Naples paper (its real name was ‘Vues 
@’ Italie’’) proved another of Dufour’s successes. At least ten 
different sets have been traced in old American houses, It 
is sometimes found in grisaille or in sepia, and sometimes in 
grey with a blue sky. Dufour’s own description of this 
paper says that he printed it in grey, dark brown, olive, 
or $tone-colour. 

Other well-known Dufour papers were The Olympic 
Fétes, the Views of Lyons, Views of Hereford, Views of 
London, and various panoramic views of different countries, 
including the Paysage Turc and the Paysage Indien. 

In general, all of the great scenic papers published in 
Paris between 1804 and 1840 can be divided into four typical 
classes. ‘They illuStrate asa rule either subjects from history, 
like the Campaigns in Italy and in Egypt, intended as delicate 
flattery to the Emperor Napoleon ; subjects from mythology 
and literature; or panoramic views of well-known cities 
or countries. 

To complete these scenic papers, when they were placed 
on a wall where there was no wainscot, it was often cuStomary 
to use a paper balustrade or soubassement below them. This 
was printed separately, and did not form a component part 





THE CID, A SCENIC PAPER PRINTED IN COLOURS ABOUT 1830 


182 





, A SCENIC PAPER PRINTED IN COLOURS ABOUT 1830 


THE CID 





THE CID, A SCENIC PAPER PRINTED IN COLOURS ABOUT 1830 


(sonmbnuy puepsuq MoN jo UoreAlasard ot) 10y AJa1D0g ayy Jo AsaUMOD) ‘*syUsId ATTog Wosy WsyxR) 1B Sott928 OM} JO aulog 


ASOOH SILO AVUD NOSIMUYVH AHL NI WAdVd AdVOSANVI AYALNAO HLNAALANIN ATAVA 


reins [5 


snes ee 


ER dome 


aor 








EARLY NINETEENTH CENTURY LANDSCAPE PAPER IN THE HARRISON GRAY OTIS HOUSE 
Some of the scenes are taken from Boilly prints. (Courtesy of the Society for the Preservation of New England Antiquities) 


186 





EARLY NINETEENTH CENTURY LANDSCAPE PAPER IN THE 
HARRISON GRAY OTIS HOUSE 
Some of the scenes are taken from Boilly prints. (Courtesy of the Society for the 
Preservation of New England Antiquities) 


THE EPOCH OF SCENIC PAPERS 187 


of the paper. One of the favourite balustrades has been noted 
in the house of Martin Van Buren, at Kinderhook, N. Y. 
Another was placed in the house of Mrs. H. O. Bixby in Chel- 
sea, Vermont. A third balustrade of the same sort is in the house 
of John Lovett Morse, where it runs along under the Adven- 
tures of Telemachus. In Germany at the same epoch they 
seem to have preferred to use a paper dado that imitated an 
iron railing instead of a Stone balustrade. 

On all scenic papers there was a large expanse of sky, 
which could be cut off without damaging the design, to 
adjust the paper to the height of the room. This proved a 
very useful expedient when ceilings were low. 

Occasionally scenic papers were put on the walls with 
the different episodes composed in panels and surrounded 
with paper borders. For the most part, however, they were 
used in an unbroken line around the wall, divided only by 
the natural openings of the room. Sometimes unexpected 
and tragic results came of such separations, when the paper 
was not Started in the proper place and with due regard for 
the number of Strips to be contained in each space. Mr. 
Sumner Appleton told me a sad Story about the paper in the 
Harrison Gray Otis House, which is now the headquarters 
of the Society for the Preservation of New England Antiqui- 
ties. In one of the scenes there is a vendor of buns, and next 
to him a little girl Stretching out her hand for one of his 
goodies. By the cruelty of fate, they were separated when 
they were put on the wall in the original house. ‘“‘ For fifty 
years,’ said Mr. Appleton, “that little girl stretched her 
hand out for a bun that was on the other side of the window! 
When we got the paper, we at last united them.”’ 

Dufour himself wrote of the embarrassment of designing 
scenic paper so that it could be used successfully in different 


188 HISTORIC WALL—PAPERS 


combinations and arrangements, without knowing. whether 
the ultimate owner would have space for two or ten Strips in 
a panel. Whoever reads his comments on this in the Cap- 
tain Cook booklet will, as he says, be able to ‘‘speak with 
full knowledge of the difficulties of the art.” 

It is not generally known that scenic papers were oc- 
casionally re-edited, juSt as books are re-edited. With hand- 
blocked paper printed in opaque colours, it was a simple 
matter to change the figures or the coStumes, while using the 
same background. A very interesting example of this is 
found in ‘‘Le Petit Décor,’ printed by Joseph Dufour, of 
which I happen to have seen two editions. The original 
paper was issued with Dzrectozre coStumes on all the little 
people. In 1830 anew edition was brought out, in which 
the coStumes were altered to the Styles of the day. The 
two panelsreproduced here side by side will show how this was 
done. Inthe later edition the lady has been given an escort 
——a comment on the sentimental turn of mind of the time. 
In other panels, there are beards added to the gentlemen’s 
faces, and the shape of their hats has been changed. ‘The 
Straight lines of the Dzrectotre are replaced by wide skirts and 
poke bonnets on the ladies. 

In the paper called ‘‘The Cid” the background is 
printed with the blocks of the “Petit Décor,’ but the 
figures have miraculously changed to Spanish types. Under 
the shadow of the Stone lion where a nursemaid was flirting 
with a gay soldier in the Petst Décor, there is a Spanish 
cavalier with his guitar. 

To complete the history of the Dufour factory, we must 
note here that Dufour associated his son-in-law with him in 
1811 and the firm became Dufour et Leroy. After Dufour’s 
death, it was conducted under the name of A. Leroy, About 





LE PETIT DECOR. THE SAME PANEL TAKEN FROM TWO DIFFERENT EDITIONS 
The first edition was printed with Directoire costumes; the paper was re-edited later with 1830 styles 





$ ee Be 


INTERESTING EARLY LANDSCAPE PAPER IN THE COLONEL WILLIAM RAYMOND LEE MANSION, MARBLEHEAD, 
MASSACHUSETTS 


THE EPOCH OF SCENIC PAPERS IgI 


1840 the business passed into the hands of Lapeyre et 
Drouart. 


We may record among the famous makers of scenic papers 
of this epoch the name of Jourdan Villars, who issued the 
“ Bataille d’ Auster/itz”’ in 1806. Delicourt brought out “La 
Grande Chasse” in 1851—~a paper that required 4000 blocks 
and is said to have coSt 40,000 francs. Cler et Margeridon 
brought out the Fétes Louzs XIII, doubtless to rival Dufour’s 
peGvasse sous Louts XIILTI.’’ 

Simon also is said to have made scenic papers, but we have 
no record of them. 

The house of Simon came into existence soon after 1800. 
After making a number of papers in the classic Style, Simon 
retired in 1820, leaving his eStablishment to his son, who 
transferred it in turn to his brother-in-law, Cartulat. The 
house of Simon et Cartulat laSted until 1835. Simon appears 
to have been very popular, according to a song that was pub- 
lished after the Exposition of 1806, which ran as follows: 


“Les papiers que chacun aime 
Sont d’Annonay ou d’Angouléme. 
Robert, Jacquemart, Simon 
Ont toujours un grand renom.”’ 


(The papers that everybody likes are from Annonay or 
Angouléme. Robert, Jacquemart, and Simon have a great 
name.) 

Mader, who had made the cartoons for Dufour for the 
Cupid and Psyche paper, and who also designed the Féses 
Grecques, set up in business for himself in 1821. He wasjoined 
by Delicourt, who had likewise been an employé of Dufour. 
Delicourt took over the house after the death of Mader, and 
with Mader’s widow continued it. When he retired in 1834, 


192 HISTORIC WALL—PAPERS 


the business was left to Mader’s two sons. In 1849 it passed 
from their hands into those of Defossé. 

The various operations in the making of scenic paper were 
full of interest and were common to all the different fabricants. 
The papers of Dufour excelled only because of his designs and 
his choice of colours. 

The first operation, after small sheets of paper had been 
glued together to form Strips of the proper length, was putting 
on the background. ‘This was done either with earth colours 
or with liquid colours, the former being used without sizing 
the paper, since they were already impregnated with a sufficient 
quantity of glue. When liquid colours were used, the paper 
was given a preliminary coat of very thin Flanders glue, applied 
with round brushes with long bristles. Following the work- 
man who applied this coat of sizing, came one or two boys 
who served as his aids, and who brushed over the surface lightly 
with long-handled brushes, like those used to sweep rooms, in 
order to spread the glue evenly. A good workman could pre- 
pare three hundred rolls of paper a day if he was well seconded. 

The paper, being thoroughly dry, was ready for the first 
coat of colour. In grisaille papers, this usually was a ground- 
colour of some shade of grey. In coloured papers, it was the 
darkest blue of the sky, which was put over the entire surface 
of each Strip. 

Both the operations of sizing the paper and putting on the 
background colour took place on long tables, so that every 
strip might be spread out to its full length. ‘The ground- 
colour had to be put on almoSt in one breath by the workman, 
in order not to show any variation. He held a brush in each 
hand and went over the surface in an incredibly short space 
of time, followed again by the two little ‘“‘sweepers,’’ who made 
sure that the colour was even. 


193 





APOLLO AND THE MUSES, TEN PANELS IMITATING BRONZE STATUES, PRINTED BY DUFOUR ABOUT 1830 


13 


194 


APOLLO AND THE MUSES, TEN PANELS IMITATING BRONZE STATUES, PRINTED BY DUFOUR ABOUT 1830 








THE EPOCH .OF SCENIC PAPERS 195 


Next the paper was polished on the back, the Strips being 
laid on the table with the colour face down, so that it would 
remain flat in effect. It was then ready for the printer. 

W ood-blocks were used, like those employed for the print- 
ing of hand-blocked linen, and it was necessary to have as many 
different blocks as there were colours or shades, in order to 
reproduce the desired design. One colour was printed at a 
time and left to dry before proceeding with another. Tempera 
colours, mixed with hot glue, were used for printing. 

Although continuous rolls of paper were made from 1800 
on, we Still find some of the papers of a later date printed on 
Strips composed of small sheets. ‘The manufacturers had a 
supply of this paper in Stock, and were too economical to 
waste it. They found too that machine-made paper was not of 
the same quality as what they had been using, and were in- 
fluenced by both of these considerations, 

When we marvel that a material so fragile as paper can have 
lasted so long ; when we see old papers taken off the walls and 
moved about and Still in an almoSt perfect State of preservation, 
we must remember that the quality of the paper on which they 
were printed had a great deal to do with their long life. 
Practically all of the paper used for early nineteenth century 
landscapes was made from pure linen rags. ‘Their survival is 
largely due to this fact. 

Panoramic decorations of wall-paper commenced to fall 
into disfavour about the middle of the nineteenth century. 
Dufour and Zuber had few imitators. Since then few new 
designs have been produced. In 1855 Desfossé et Karth printed 
“Te Fardin d’ Armide,’’ which was awarded the prize that 
same year at the Exposition as the most remarkable piece of 
printing. It was, however, done entirely by machine. Isidore 
Leroy took out a patent in 1840 for a printing-machine com- 


196 HISTORIC WALL-—PAPERS 


posed of one or two engraved cylinders, to print one or two 
colours. He had also discovered a way to spread the colour 
on the cylinders very smoothly and evenly with what he called 
an ‘‘endlesscloth.”’ James Houston of Manchester, England, 
where Potter had already been printing cottons in colour by 
machine, utilized Steam in 1847 to run a six-colour press. 
Since that time mechanical progress has been constant. The 
old order of hand-printers has almoSt passed away. 

The question is often asked why more new scenic papers are 
not now produced. Is it because our artists are not interested 
in this sort of designing work, in which great painters once 
took keen pleasure? Or is it because there are no manu- 
facturers like Dufour who will take the risk of inveSting the 
large sums of money necessary for the production of an im- 
portant paper, with the probability of being able to turn out 
a very limited quantity? I am told that in the whole of 
France there are now not more than 60 engravers trained for 
the making of wood-blocks for papers, and not more than 50 
printers: and these are all old men. Their art will perish 
with them, for they cannot find apprentices among the 
younger generation willing to learn a trade so arduous and so 
poorly paid in comparison with other occupations. 

““It is a dying art, is it not?’’ I said to Monsieur Follot. 

‘‘Ah no! Mademoiselle,” hereplied, regretfully. “Itisan 
art that is already dead!”’ 


UE 





AN ORDER FROM LEGENDRE OF PARIS, IN 1807-1808, TO ONE OF HIS MANUFACTURERS IN THE PROVINCES 
































THE VENETIAN BLIND IN WALL-PAPER 
PRINTED BY DUFOUR 
Pale-green slats on black ground 


punos3yaeq aso1 ¥ UO SINOTOD I4311q ABd UT sIaMOY pue ‘sanbsaquie ‘Ny Jo s[Moq ‘s19q3eaj yDoovad ‘s}sau .spIlg 
SAILVUOOAd SLUV SAG APTSAW AHL NI WAdVd-TIVM FTYIOLIAYAIA . 






BO 





THE WAR OF AMERICAN INDEPENDENCE. ZUBER’S PAPER, ISSUED IN 1838 
Left: American volunteers seizing an English redoubt. General Lafayette capturing a cannon 
Right: Surrender of Lord Cornwallis at Yorktown 


as 


us 


=< 








ANOTHER VIEW OF THE MONUMENTS OF PARIS 
One of the most popular of the early nineteenth century scenic papers in America 


a 


Yh 





CHAPTER X 


PAINTED SCENIC PAPERS, FIREBOARDS, BORDERS, 
OVERDOORS AND SCREENS 


i 





CHAPTER X 


PAINTED SCENIC PAPERS, FIREBOARDS, BORDERS, 
OVERDOORS AND SCREENS 


PAINTED SCENIC PAPERS 


HE cost of engraving wood-blocks for a scenic 

paper was enormous. Every new paper involved an 

outlay of 30,000 to 50,000 francs at the outset, be- 
fore any printing could be done. 

It is not surprising, then, that we occasionally find the 
ingenious idea of paznting a scenic paper instead of printing 
it, in order to obtain something of the same effect. A man 
with a brush and some artistic sense, a few rolls of paper, 
some tempera colours—nothing else was needed for a painted 
paper, except two or three weeks’ time, to accomplish what 
a dozen wood-engravers could not finish in a year when a 
printed paper was to be made, 

To be sure, only one example of each painted paper was 
produced; but this had its advantages as well as its disadvan- 
tages. The owner was certain of having a decoration that 
was absolutely unique. 

Possibly some of the painted papers that have come to 
light were done originally as patterns for block-printed 
papers, but were never executed. ‘They do not exist in suf- 
ficient quantity to make us believe that they were anything 
but occasional manifestations of the interest of the age in the 
development of landscape walls. 

In general effect these painted papers are not nearly so 
finished and detailed as printed papers. ‘They are done in 


tempera with masses of colour and large sweeps of the brush. 


203 


204 HISTORIC WALL—PAPERS 


Since there is no printed outline, such papers have a softness 
and mellowness that is not to be found in designs printed 
from blocks. The edges of the colour melt into the back- 
ground; the composition is less definite, more naive. In 
fact, these painted paper decorations are very close in feeling 
to the early frescoes that were put on American walls before 
the age of wall-paper came in. Throughout New England 
many intereSting frescoes of this sort have been found, and 
some of them are noted in Mr. Edward B. Allen’s article 
which appeared in October, 1922, in ‘“‘Art in America.” 
He records how the early settlers, repressed and restrained 
in their natural love for colour, had difficult experiences in 
satisfying it, as for example, the Rev. Thomas Allen of 
CharleStown, who was summoned before the Court in 1639 
and severely reprimanded for having his house painted in a 
lively shade. We are glad to know that he was exculpated 
when it was proved that the painting had been the work of 
the former owner. 

A charming painted room Still exists at Quillcote, the home 
of the late Kate Douglas Wiggin. It was done about 1820 
and restored in such slight degree as was necessary in IgI0. 
The colours used in the fresco were mixed with skimmed 
milk. Mrs. Wiggin’s sister, Nora Archibald Smith, writes: 

The house belonged in my Step-father’s family and it 
was his aged sister who fixed the date of the painting, which 
she remembered seeing done when she was a tiny child. 
She told me that the painter came down from BoSton on 
horseback to do the work. ‘The north chamber, across the 
hall, is also painted but we have never Stripped off the various 
coats of paper to examine it. The front halls of the first and 
second Stories are decorated in the same way. ‘These painted 
scenes, however, were so cut into by changes in the house 
that but little is left of them. 


2 
é 
i 


f 


ie 


le panne ge 
Ca a 


mire 





THE HOME OF THE LATE KATE DOUGLAS WIGGIN 


*“THE PAINTED CHAMBER” IN QUILLCOTE 


206 





THE FIRST RAILROAD 
Painted paper in a house on High Street, Salem, Mass. 





RUSTIC SCENE 
Painted paper in a house on High Street, Salem, Mass. 





PAINTED PANEL FORMED OF FIVE STRIPS OF WALL-PAPER 


ll on the Hudson 


i 


Fishk 


In the hallway of John Bayard Rogers Verplanck 


208 


UONNOAsY YOusiy 243 jo yooda :1oded siqy ajep [ye s1vIs UsazI1y3 SururE}UOD 
Bey uvouawy oy} QUA digs aq) pue ‘sdeo Ayaqiy 243 ‘sownysod ay “qq2AA UOsIeAA ‘f “SII JO UO}ssassod oq} UI MOU pUe ‘UNpPIaA eau AIAIDH Yk gj¥d B JO ST[eA 9G} Woy UAL L 
AUONLNAD HLNAGLHOIA ALVI ‘GaLNIVd ‘WddVd OINTOS HONAYA 


Sepa at eo Pest —./ 





PAINTED SCENIC PAPERS 209 


There is a house in the vicinity with a parlour painted 
in peacocks (but it is now covered with paper) and another 
with a Stencilled border from which hang loops or swings of 
cord, in each of which a red bird is swaying to and fro. 

The beSt painting I have seen in the vicinity of Hollis 
Center, outside of the room at Quillcote, is in a hotel at 
Limerick, Maine. ‘This sweeps up the hall and Stairs to the 
second Story and into the principal guest-room. 


Around the edge of the ceiling, in the two photographs 
of Quillcote’s painted chamber, may be seen a Stencilled border 
ina conventional design. Before the fashion of decorated walls, 
borders of this sort were often used in Colonial houses, and in 
many inStances they were home-made, executed by different 
members of the family. They formed a pleasing, simple 
decoration, done in delightful colours. Mr. Charles Woolsey 
Lyon has in his possession the copy of such a border, painted 
in red and green on a yellow ground. 

Painted scenic papers, however, had one great advantage 
over frescoes—they could be taken off the wall and moved if 
the household moved. Frescoes must be left where they 
were put. 

Asa background for primitive American furniture, scarcely 
anything can be found that gives the exact quality of freshness 
and naiveté and lack of sophiStication that these painted papers 
contribute to aroom. We cannot but regret, when we see 
them, that more have not survived. 

A very interesting painted paper, recently discovered in a 
café at Givry, near Verdun, and successfully removed from 
the walls, is now in the possession of Mrs. J. Watson Webb 
and is hung above a pine wainscoting in her early-American 
dining-room at WeStbury, Long Island. There are boats and 
dashing waves and a lighthouse in this paper. The little figures 

4 


210 HISTORIC WALL—PAPERS 


are dressed in liberty caps, which dates the paper at the time 
of the French Revolution. In compliment to America, the 
sister republic, a flag with thirteen Stars was painted on the 
boat section, which is used as the overmantel. The colour of 
this paper is very pleasing, the soft green-blue of the water, 
the brighter blue of the sky, and the touches of orange-red in 
the costumes are enlivened and brought out by the foliage 
and the buildings. 

Mrs. Webb has another painted paper of this sort in her 
house at Shelburne, Vermont. This represents Napoleon on 
the Bridge at Arcola. The figure of the little Corsican, bear- 
ing a flag, is seen dashing across the bridge, on which several 
valiant French soldiers have already fallen. ‘The smoke of 
the battle dims the background of the painting ; through it 
may be seen the Austrian lines, 

Sometimes the whole Story of a book was told in a painted 
paper. The Adventures of d’Artagnan and the Three Mus- 
keteers, owned by Mrs. George B. Hedges, begins when 
d’Artagnan leaves his father’s house on his old yellow horse, 
and wanders around the room in a bewildering series of esca- 
pades. We are able to follow the hero through his en- 
counter with the Cardinal’s guards and his wild dash to 
England, inspired by Madame Bonacieux, to recover the 
Queen’s diamond Studs from the Duke of Buckingham. 
The dramatic execution of Milady, watched by Athos, 
Porthos, Count de Wardes, and d’Artagnan, brings the Story 
to its conclusion. 

The two papers in a house in High Street, Salem, one 
representing a RuStic Scene and the other the FirSt Railroad, 
are also painted papers of great interest. 

As a curiosity among painted papers we may cite here the 
very entertaining decoration in the house of Mrs. Henry 


qq2M Uosye AA *f “SIP JO Ayadoig 


‘UddVd OINAOS HONAYA GALNIVd 


“VTOOUV LV AOAIUd AHL NO NOATOdVN 





Zz 
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Zlet 


alee 


‘SSVI ‘WATVS ‘LAAULS xassd ££ LV ‘ASQOH SNINUAd—MAUYCNV—-GUVNUVA AHL NI NOLLVUOOAG GALNIVd 











THE THREE MUSKETEERS. FRENCH NINETEENTH CENTURY PAINTED PAPER 
D’Artagnan leaves his father’s house on his old yellow horse. Property of Mrs. George B. Hedges 


punos3yoe"q 2y) Ul DIANO'T YJ, “JOOP s1q Jo JUOIy Uy! XNI;OvUOg INaIsuO|y 
SUAALAANSAW AAUYHL AHL 


ER AS 





205 








ene soa 


THE THREE MUSKETEERS 
D’Artagnan’s encounter with the Cardinal’s guards. Spying on Madame Bonacieux 








wWeYsULNg jo 2yxNG 24} Woy sprys puoweErp ay} YEG SuLIq 0} pue[sU_ 105 YIEqasIOY UO JNO 3uTNag 
SUAALAASOW AXAHL AHL 





pea) 


— eae 


THE THREE MUSKETEERS 
The execution of Milady 











ONE OF A SERIES OF EIGHTEENTH CENTURY PAINTED PAPER PANELS 


Medallions of birds and flowers on a background of blue lattice. 


Property of Mrs. Ernest Iselin 











PAINTED SCENIC PAPERS 219 


Vaughan, of South Berwick, Maine. The parlour of the house 
had been hung by Mrs. Vaughan’s mother with a design con- 
taining vivid green foliage and brown stems on a white 
background. Since this paper was not pleasing, Mrs. Vaughan 
arranged to havea landscape painted over it. In’many places, 
the artist was able to use the leaves and Stems of the original 
design as part of his new composition. He painted a rather 
elaborate baluStraded canal about a foot high, running above 
the wainscot : in the foreground are many gallants and ladies 
promenading, having afternoon tea, and generally enjoying 
life. On the opposite side of the canal, in the background, 
are the hiStoric buildings of New Hampshire, grouped very 
much as the buildings of Paris are arranged in the famous 
old paper called the Monuments de Paris. 

Entirely different from these simple papers are some of 
the formal painted papers that came to this country from nine- 
teenth century France. In Lyons and in other cities, designs 
were made in ful]-sized panels as patterns for silks to be applied 
as decorations on the wall. ‘These patterns were so beautiful 
in themselves that they have been preserved and used as 
painted papers. 

One paper of this sort is in the finite -room of Mrs. Ernest 
Iselin of New York City. The background is covered with 
pale-blue lattice work ; against thisare set large cream-coloured 
medallions containing birds and flowers in alternating sequence. 
The birds are cut out and applied: the flowers are painted and 
Stencilled. Their brilliant colours, together with the grace- 
ful tendrils that frame the medallions, make a charming 
composition, 

Two interesting Directozre painted papers have landscapes 


and marine views and large birds with brilliant plumage set 
in medallions on a marbleized background in tones of sienna 


220 HISTORIC WALL—PAPERS 


and antique green. These papers are the property of E. Bruce 

Merriman of Providence, Rhode Island. The coat of varnish 

over the surface of these panels gives them a rich lustre. 
FIREBOARDS AND OVERDOORS 

One of the principal occupations of the old paper manu- 
facturers was printing small scenes, landscapes, and vases of 
flowers that were decorative and beautiful in colour, to be used 
as fireboards or overdoors. In summertime, when there was 
no fire in the chimneyplace, a frame covered with one of 
these decorations was set into the opening. It added a gay 
and amusing touch to the room. Overdoors that imitated 
famous paintings were also often made. One of the most 
beautiful examples is the copy of the ‘‘Skaters”’ after Van Loo, 
which is reproduced here. This was printed during the reign 
of Louis XVI. 

The Style of these decorations changed with the Styles of 
furnishing. Hence we have, during the Empire, classic deco- 
rations of antique figures ; during the Louis Philippe period, 
sentimental subjects, or quaint baskets of flowers. As late as 
1850 these decorations formed an important part of the wall- 
paper industry. 

WALL-PAPER BORDERS 

The coming of the Second Empire brought other changes 
in the Styles of wall-paper. Important arrangements of rooms 
were made, with wall-paper borders, frames, friezes, and dadoes. 
From this period date some of the decorative borders illustrated 
in this book. Nothing more was needed to give interest 
to the walls of a room than one of these colourful designs. 
Sometimes the borders ran like a frieze around the top of the 
walls, under the cornice ; sometimes they were also used above 
the dado ; sometimes they took the place of panel mouldings, 

In a way borders are neither fish, flesh, nor fowl. They 


W 22g “q ‘SI jo Ausdoig 


UAdVd GaAZIATAUVW AO SANNOYOAOVA NO AYNLNAD HLNAALANIN ATAVA AO STANVd GALNIVd 


uewdii3 





222 





i ees Os ee | 
: 


me “Ss x é 5 ‘ae eee af us 
SEEN AT Nie Ure Nin LS ABS SNR Cp AA AGI I a Si A ane in AS,1 ll 


WALL-PAPER FIREBOARD; BLUEBEARD HANDING THE KEY TO ONE OF HIS WIVES; EMPIRE 
Printed in bright colours 


Rad had SAGA ache eeu he 
deg we Pa we 





soa eas 


THE SKATERS, AFTER VAN LOO 
One of the most beautiful examples of wall-paper printing. Ground is pale blue. The grande dame in the 
sleigh is wearing a mantle of pale green and her gallant has a rose-coloured cloak. The small boy 
skating ahead of the sleigh is in bright blue 





CHIMNEYBOARD WITH VASE OF FLOWERS, WALL-PAPER PANEL, EIGHTEENTH CENTURY 


FLAS eT wt sere ree ster 





TWO WALL-PAPER OVERDOORS IN CLASSIC STYLE, NINETEENTH CENTURY, FRENCH 





WALL-PAPER PANEL WITH THE AMERICAN EAGLE AND CROSSED FLAGS. ON THE 
TABLET IS THE DECLARATION OF INDEPENDENCE 
Printed in France probably for decorations of schools and municipal buildings in this country. Property of 
the Women’s National Republican Club 





LOUIS XVI WALL-PAPER FRIEZE WITH SCENES AFTER VERNET 


226 


ae Te Se NRE aN RA 


jsoiemag ‘Wf jo Ayiadoig = ‘*u2013 pue AoI5 
HAONVLSIG NI SMAIA ANIUVN HLIM SHHOUV HSINOOW AO UAGUOT UAdVd-TIVM 


ee Rea 
AAD 


a, 
ain 





plos pue ‘anjq ‘aaneyy 
SUdaduod AUAdVUd S.YNOANG AO ANO 


AS EME ER EOE RO ELLER Ra 


CC el ah iS le ORE REMAP IRE 





PAINTED SCENIC PAPERS 2207, 


Stand midway between paper that is a background and paper 
that isa decoration. ‘Their use leaves the walls bare and per- 
mits the employment of pictures, mirrors, and other wall- 
decorations impossible with papers that cover the entire sur- 
face with a design. 

How these borders were employed to frame panels of 
landscape papers and to form the base of screens may be seen 
in the photographs in which I have been able to reproduce 
a number of charming examples. 








WALL-PAPER OVERDOOR IN RENAISSANCE STYLE 
Brown and cream 


Japyulg uATOIND ssi jo Ayado1g 
UAadUAOd UAdVd-TIVM IAX SINOT ANIA V 


A Nt 


| 
| 
: 


philic aac 





UAOIG PUL UL) JO S9UO} Ul} S}USUWLUIO [BINJaYIe pue SaiNsy ‘use aed punoisyoeg 
SdIdNO AO SANOUD ANV SNNNIOO HLIM YACUOT UWAdVd-TTIVM TAX SINOT ANIA V 


ma meeetneerncer 


%S, 


oe : 3 u i 7 : 


“ ” 





heer SS and 
"She Seemann 





NINETEENTH CENTURY SCREEN OF LANDSCAPE PAPER IN SEPIA WITH WAINSCOT OF MEDALLIONS 
. AND MARBLEIZING 
(Courtesy of John Wanamaker) 





A BEAUTIFUL WALL-PAPER SCREEN, LOUIS XV CHINOISERIE 
Buff, blue, and black 
(Courtesy of John Wanamaker) 





NINETEENTH CENTURY WALL-PAPER SCREEN 
The upper part, a landscape paper in colour with ruins; below this a marbleized wainscot with medallion of a triumphal car in 
a wreath of laurel 
(Courtesy of John Wanamaker) 





LOUIS XVI WALL-PAPER SCREEN WITH MEDALLIONS, VASES OF FLOWERS, AND MUSICAL ATTRIBUTES 
IN COLOURS ON A TAN GROUND 
(Courtesy of John Wanamaker) 


(JexvUILUR AA UYOL Jo AsayiN0D) 
SYSVW NVI.LANATA HLIM NANOS UAdVd-TIVM TAX SINOT 


Reade Rat Sides etn GIS 


ee 
retin 








aS 


a\ > 


f 
: 
i 
¥ 
BR 
£ 
E 
> a 
* 
& 
&. 





PAPER IN THE DOROTHY QUINCY HOUSE, IN QUINCY, MASS. 
Brought from Paris to put on the walls forthe wedding of Dorothy Quincy and John Hancock in 1775 


¥ 


ay 





CHAPTER XI 
FARLY AMERICAN WALL-PAPERS 





CHAPTER XI 
EARLY AMERICAN WALL-PAPERS 
HEN Brissot de Warville visited America in 1788, 


he madea very interesting report on the commerce 

of the United States with Europe, which was trans- 
lated and published in New York in 1795. After citing the 
various American exports, including indigo, tobacco, rice, flax, 
foodstuffs, and timbers for ships, he went into detail about 
articles which muSt be imported from France for America’s 
needs, The American people, it appeared, were unable at that 
time to produce wines, cloths, linens, silk Stockings, jewelry, 


LS 


and ‘‘different sorts of paper, Stained paper, etc. 


If there be an object of commerce for which Europeans 
need not fear a reciprocal competition, if there be an article 
which offers to all European manufacturers a certain and 
lucrative employ, it is that of paper. 

The Americans cannot enjoy this advantage for a long 
time to come; besides the dearness of workmanship, their 
population cannot furnish them old rags in quantities sufhi- 
cient to eStablish paper-mills whose production would be 
equal to the consumption of the inhabitants. 

Rags are excessively dear in America; but the time is 
arriving when by an increase of population they will become 
plenty. In Pennsylvania they already make very good paper. 

The happy invention of coloured paper for hanging is of 
a nature always to cause a greater consumption of paper; and 
the manner of hanging with paper will subsist for a long 
time because it gives a neat and agreeable appearance to 
dwellings. 

No other is known in the United States; it is there uni- 
versal; almoSt all houses are neat and decent. 


237 


238 HISTORIC WALL—PAPERS 


It is evident from this report that the manufacture of 
paper from wood-pulp and other materials besides rags was 
not yet in practice. Itisalso evident that Brissot de Warville 
did not inquire too closely into the source of the wall-papers 
that he found ‘universal’? in American houses. By no 
means all of them were of foreign make. In 1788, at the 
time of his visit, eight American manufacturers whose names 
are chronicled here were producing wall-paper, and before 
his book was translated and published in New York there 
were many more, 

In Lord Sheffield’s observations on the commerce of the 
United States, printed in Philadelphia in 1791, we find the 
Statement that at the time there were forty-eight paper-mills 
in Pennsylvania. The author adds, ‘The printing of books 
has increased in an aStonishing degree and factories of paper- 
hangings are carried on with great spirit in Boston, New 
Jersey, and Philadelphia.” 

The earliest wall-papers in America were naturally im- 
ported from England or France. ‘‘Painted paper”’ is found 
in the inventory of Michael Perry, bookseller and Stationer 
in Boston, who died in 1700, The liSt of his Stock includes 
‘“‘seven quires of painted paper and three reams of painted 
paper.’”’ From the use of this name we may judge this an 
importation from France at the time when Papillon and 
other dominotiers like Defourcroy and Adam were making 
the first wall-papers in continuous repeating designs. Eng- 
lish papers of the same epoch were generally known as 
‘“Stained papers.” 

We have evidence in the advertisements of the old book- 
sellers and Stationers and upholsterers, that wall-papers became 
an article of merchandise in this new world early in the 
eighteenth century. Daniel Henchman of BoSton records in 


LLL bad cheek kage 





THE LEXINGTON MINUTE-MAN 
Original wall-paper in the hall of the Buckman Tavern, Lexington, Mass. 
This paper represents a minute-man holding a scroll inscribed ‘‘4 July 1775.’’ His right foot stands ona scroll marked “British 
Laws.’’ At the left is Britannia weeping; on the right is an Indian maiden with bow and quiver. The paper is printed 
in black and white on a medium grey background 
(Courtesy of the Lexington Historical Society) 


240 


FROM FORT HAMI 





THE NARROWS, FROM FORT HAMILTON 
A fireboard in the possession of the Pennsylvania Museum 





WALL-PAPER WITH MEDALLIONS REPRESENTING NAPOLEON AT ST. HELENA 
From the home of William G. McMaster, Lockport, New York. Put on about 1840 


EARLY AMERICAN WALL—PAPERS 241 


his account-books sales of painted paper in quires between 
1712 and 1714. John Phillips, bookseller, advertised in 
1730 in the New England ‘fournal ‘<stampt paper in rolls, 


This seems to be the earliest mention 
of paper in rolls found in this country. Roll paper was not 


for to paper rooms.’ 


universal, for D, Samuel Robinson of BoSton in 1734 to 1741 
bought and sold ‘‘paznted paper in quires,” and John Maverick, 
shopkeeper, bought ‘‘four quires and five sheets of painted 
Papeietoresi. 3.9. However, John Parker, at the head 
of the Town Dock, BoSton, in 1736 advertises ‘roll paper 
for rooms.”’ 

The home manufacture of wall-papers seems to have 
begun in America with Plunket Fleeson of Philadelphia, 
Uitai7 30: 

Plunket Fleeson advertised as an uphol&terer, lately from 
London and Dublin. He had a shop, ‘‘At the Sign of the 
Easy Chair,’ near Mr. Hamilton’s in CheStnut Street, and 
was later at the corner of Fourth and CheStnut Streets. He 
advertised in the Pennsylvania Gazette at intervals between 
August, 1739, and December, 1783, when he published this 
dignified letter on the occasion of the retirement of General 
Washington from command of the army. 


To his Excellency GENERAL WASHINGTON, 

Die 
The Magistrates of the city of Philadelphia, in behalf of 
themselves and their Associates, the Magistrates of the 
county, beg leave to present to your Excellency our con- 
gratulations on the present happy aera, which confirms to 
the United States of America the inestimable blessings of 
Peace, Liberty and Independence. 

The great share your Excellency has had in obtaining 


these blessings, demands our most grateful acknowledgments ; 
16 


242 HISTORIC WALL—PAPERS 


should we indulge ourselves in expressing your merit therein, 
we are fearful we should offend in point of delicacy. 

Weare impressed with the highest sensibility of the value 
of the brave officers and soldiers of the American army, and can 
never forget how much we owe to our magnanimous Ally the 
King of France, for his support and assistance ; particularly in 
that of his brave officers and forces, both by seaand land. But 
above every consideration, we are bound to acknowledge the 
infinite goodness of the Supreme Ruler of the Universe, who 
has so remarkably interposed in our behalf, through every 
period of this important Struggle for the freedom and happi- 
ness of mankind; and, we conceive, in no instance more 
apparently than in inspiring and directing our great national 
Councils, and by graciously raising up among us an illustrious 
personage, with the moSt shining abilities and conspicuous 
virtue, to lead, direct and animate, by his conduct and ex- 
ample. Who this great character is, shall be a blank in our 
page, being confident that every grateful heart and generous 
hand will be ready to fill it up. 

May your Excellency find, in the retirement you contem- 
plate, all the happiness which mu&st arise from the reflection 
of having served your country in the hour of distress; and 
may the gratitude of America be moSt eminently displayed 
in following those wise and salutary councils, which have 
distinguished the period of your command—to a soul like 
yours, we are persuaded no return can be more acceptable. 

Signed, in behalf of the MagiStrates of the city and county 
of Philadelphia. 


PLUNKET FLEEsON, President. 
Philadelphia, 13th December, 1783. 


Fleeson’s first advertisement in 1739 shows that he kept 
a great variety of articles in his shop, including bedticks, 
choice live geese feathers, blankets, and sacking bottoms, “at 
the most reasonable rates,”’ as well as paper-hangings. In 1769 
he announced ‘‘American Paper Hangings, manufactured in 


STIVM AHL NO AOVId NI UAdVd ONIGGAM AONINO AHLOUOM AHL 














ie: 2 


oe 





THE PEACOCK PAPER IN THE GOVERNOR GORE MANSION AT WALTHAM, MASS. 


EARLY AMERICAN WALL—PAPERS 24.5 


Philadelphia, of all kinds and colours, not inferior to those 
generally imported and as low in price. Also papier-maché, 
or raised paper mouldings for hangings, in imitation of carv- 
ing, either coloured or gilt: and as there is a conciderable 
duty imposed on paper hangings imported here, it cannot be 
doubted but that every one among us who wishes prosperity 
to America, will give a preference to our own manufacture, 
especially on the above proposition, if equally good and cheap.”’ 
The appeal to patriotism was a poweful incentive of early 
American advertisements. 

The combination of ‘‘upholSterer and undertaker,’ which 
still exists in country towns and villages, is not uncommonly 
found in the early advertisements. Hence we discover to our 
great amusement that undertakers do a brisk business in paper- 
hangings, It is $till more unexpected to meet with wall-papers 
in ironmongers’ shops, and in the Stores of those who furnish 
equipment to the Army, but this also occasionally happens. 
Wall-paper is not as yet important enough or sufficiently well 
eStablished for retailers to devote their whole time to it, 
without some associated profession, allied or alien, as the case 
may be. 

James White, lately arrived from London, makes a quaint 
announcement in the Pennsy/vania Gazette in 1754. He 
declares that he makes “all sorts of furniture for beds, win- 
dow curtains, either feStoon or plain, all sorts of chairs, either 
French or India back, sofas, settees and settee-beds, feather 
beds, mattresses and all other kinds of household furniture 
after the neweSt taste, either the Chinese or the Venetian ; 
likewise paper hangings, put up so as not to be affected by 
the hotteS&t weather, also funerals furnished and shrouds, 
either pinked in London or plain and pleated, and sheets,”’ 

White & Lawrence, upholsterers from London, had a 


246 HISTORIC WALL-—PAPERS 


shop at The Crown and Cushion, Front Street, Philadelphia, 
in 1756, and also sold all sorts of paper-hangings. Their 
successor, Blanch White, ironmonger, at his upholstery 
warehouse, ‘¢ The Crown and Cushion,”’ sold drums, colours, 
and all sorts of field equipages for the Army as usual, also 
feather-bedding and a few paper-hangings in 1760. 

Between the years of 1740 and the outbreak of the Revo- 
lution, there were conStant importations of paper-hangings 
arriving from London and Paris by every ship. ‘The an- 
nouncement of these appears in many of the Philadelphia 
and Boston papers, and it is easy to see that taSte in America 
kept pace with taste abroad. Joshua Blanchard, at his shop 
in Dock Place, Boston, advertises new and large assortments 
of paper-hangings between 1762 and 1773, many of them 
as low as 20s. and half a dollar a piece. —Thomas Lawrence 
of Philadelphia, paper-hanger and uphol&Sterer, in Second 
Street, near the English Church, makes the same announce- 
ment. ‘Thomas Lee of Boston presents ‘‘ Gothic Paper Hang- 
ings’’ in 1764-1765. 

After Plunket Fleeson, the next important American 
manufacturer of paper-hangings to eStablish himself was John 
Rugar of New York. The Boston News Letter of December 
12, 1765, gives the following interesting note, which shows 
that the attention of the public was being turned toward more 
artistic decoration in the home. 

New York, December 5,1765. At anumerous meeting 
of the Society for Promoting Arts, etc., in this Province 
* * * John Rugar produced several patterns of paper-hang- 
ings made in this province * * * The said Rugar has now a 
considerable Quantity on hand, and lives in Bayard Street, 
next door to Mr. Heyman Levi. 


In Philadelphia, Ryves and Fletcher, in the Pennsy/- 


247 


ee 
To, 





GOTHIC PAPER-HANGING SUCH AS THOMAS LEE OF BOSTON 


IMPORTED IN 1764765 


o 


Se Sipe 


Pee 


ae ee 


ae 





THE “ESMERALDA” PAPER. A PAPER OF 1831 REPRESENTING THE GYPSY IN 


VICTOR HUGO’S NOVEL, “NOTRE DAME” 
It consists of a series of medallions, framed between strips that are like old illuminations, with Gothic figures and the suggestion of 


Half of the original paper is in the house 


of F. Frazier Jelke, of Newport, R. I.; the remainder is being used for a bedroom in the house of 


The colours are orange-red, green-blue, and tan. 


Gothic architecture. 


Mrs. Marshall Field at Huntington, Long Island 


EARLY AMERICAN WALL-—PAPERS 249 


vamia Packet of May 29, 1775, announce a new American 
manufactory. 


Ryves and Fletcher, Paper Stainers. Make and sell all 
kinds of paper hangings, etc., at their house in Pine Street, 


Philadelphia. 

As they are the first (?) who have attempted that manu- 
facture on this continent and which has really been attended 
with great expense in procuring proper hands, materials 
etc. and as it consumes a large quantity of the paper of this 
country, they are therefore induced to hope for the counte- 
nance and the protection of well wishers to the infant manu- 
facturers of America. 

That the fashion for Chinese papers had arrived in 
America is witnessed by an advertisement of Jerathmeel 
Peirce, near North Bridge, Salem, Massachusetts, in 1781. 
He announces ‘“‘elegant India Paper Hanging of the Newest 
Fashion.”’ 

Flock patterns were also announced in 1781 by William 
Poyntell, who had a Stationery Store and paper-hangings in 
Second Street, Philadelphia, three doors below Market 
Street. He says that many of his paper-hangings will be 
sold from 3/6 to 5s. a piece, and declares that these very low 
prices will make papering cheaper than whitewashing. This 
gives us an intereSting side-light on the usual fashion of 
finishing walls when papers were not used. 

In 1785 there is another wall-paper factory in Philadel- 
phia— Joseph Dickinson has just removed to his Manufac- 
tory in Vine Street between Second and Third. 


He is now enabled to lower his prices and determined 
to undersell all importations in his business. Neat paper for 
2/6 per piece. Higher prices in proportion. Made to 
equal India. He also hangs paper at 2s. per piece in the best 
manner. 


250 HISTORIC WALL-—PAPERS 


Mr. Dickinson apologizes to his former customers who 
have paid higher prices and explains that his overhead ex- 
penses were originally so high that he was obliged to charge 
more. He even bursts into atrocious rhyme about the wall- 
paper business. 

‘““'The Importers would do well 
If they in export could excel 
And leave the needy cash at home. 
Tho’ I’m no Frenchman, I’d say bon 
But if the spindle and the distaff 
Must lay by, millions can’t laugh.” 

In 1786, in the Independent Gazetteer, Dickinson an- 
nounces: ‘‘ Having had the fullest practice in London and 
Paris, also having Studied the nature of this climate and the 
texture of the walls, he is happy to inform the public that 
he has paper made in this State which will be found more 
durable than imported papers, and is determined to undersell 
all imported paper twenty percent.”’ 

He also makes this ingenious suggestion: ‘Flies and 
smoke operate to soil paper in common rooms if the goods 
are too delicate; to prevent which I have pin grounds that 
fly marks will not be perceptible upon. Also dark grounds, 
which the smoke will not considerably affect in the course 
of twenty years, at such low prices will eventually be found 
cheaper than whitewash.”’ 

He is Still at the head of his business in 1788, but in 
February of that year, his widow, Ann Dickinson, takes over 
the factory ‘‘lately carried on by Joseph Dickinson de- 
ceased’ and rather pathetically begs for a continuance of 
patronage. 

Joseph Dickinson evidently believed in advertising and 
in saying what he thought through the medium of the 


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sanimb 


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252 


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PAPER IN THE WEST ROOM OF THE HANCOCK-CLARK HOUSE IN 
LEXINGTON, MASS., DATED 1734 


EARLY AMERICAN WALL—PAPERS 258 


newspapers. There is a record of a grandiloquent announce- 
ment of his in the Pennsylvania Packet in 1787. 


It is truly farcical to find some evil, low-minded people, 
foes to this country, endeavouring to persuade numbers that 
no man can do work in America equal to what he did in his 
native country. Away with such ideas! otherwise become 
less than any power on earth. ‘They may well be compared 
to Blood-sucking Leeches, which would suck the vital 
strings of the noblest veins, tho’ justice demands they must 
disgorge it in agony. 

He is also happy to inform the public that he can supply 
them with any quantity, cheaper than can be imported; and 
notwithstanding some falacious reports have been propagated 
by foes to this country that paper cannot be made equal to 
European, I am determined to prove the contrary and willing 
to shew colour for colour, paper for paper, cheaper than can 
be imported from any part of Europe. 


John Welsh, Junior, of Bromfield’s Lane, BoSton, Started 
a paper-Staining factory in Scott’s Court in 1786. ‘‘ Welsh,”’ 
says Walter Watkins, in an article on Early Paper-Hangings in 
Boston, ‘‘was a young man, born in 1757 in BoSton, the son of 
John Welsh, jeweller, ironmonger and pewterer, who owned 
a house adjoining Scott’s Corner on Union Street. The family 
settled in CharleStown in the previous century. Young Welsh 
was prominent in Masonry, was Secretary of Massachusetts 
Lodge, Grand Clerk and Grand Secretary of the Grand Lodge 
of the State. Failing health may have caused his ill fortune, 
as he became insolvent and a bankrupt in 1789, and this per- 
haps contributed to his death in February of that year. He was 
buried with masonic ceremonies from Faneuil Hall.”’ 


The inventory of his eState reveals the extent of his ven- 
ture in manufacturing paper-hangings. 


A set of prints of Quaker figures; a set of Diana, 60 
shillings; Fantail, 54 shillings, oval and slack; green figure, 


254 HISTORIC WALL-—PAPERS 


55 shillings; Slacks 40 shillings; Pin oval, sprig, fantail 
borders, 50 shillings; Canopy borders, 45 shillings; scroll, 
21 shillings. ‘Two printing tables, valued 30 shillings; 
poles and cross pieces, 2 shillings. Cutting screw, plough 
and knives, 14 shillings; Three painting tables at ro shil- 
lings; paint Stone, 6 shillings; Eight bags of coloured flocks, 
40 shillings; 100 refuge and odd balls painted paper, £10. 

The business of John Welsh was bought out by Moses 
Grant, who advertised a great variety of papers with genteel 
borders as cheap as any place on the continent; each piece 
warranted to contain twelve yards. He also had an assort- 
ment of French and English papers. 

About this same time Joseph Hovey, paper-Stainer and 
linen-printer, was carrying on a business in paper-hangings 
in Boston, at the low price of 2 shillings to 5 shillings per 
roll. His factory was in Essex Street, ‘‘next door below 


the Liberty Pole.” 


John Bright, at 44 Marlboro Street, BoSton, had a paper- 
Staining factory at 39 Cornhill, near the market. He 
claims that ‘‘they are superior to any ever before offered for 
sale in America. Among them are plain blues and greens, 
brocade, velvet and chintz figures with handsome feStoon, 
patch and carved work borders—elegant panel papers, suit- 
able for wainscoting and $taircases—beautiful flower pots for 
chimney boards, etc.”’ 

Prentis & May in 1790 had a factory at 43 Marlboro 
Street, Boston, where they made paper-hangings ‘‘equal to any 
made on the continent.’’ In 1791 this partnership was dis- 
solved, William May announcing the eStablishment ofa factory 
at Green’s Wharf, nearly opposite the Golden Ball Tavern, 
Merchants’ Row, and Appleton Prentis opening a shop in Milk 
Street, a little below the Old South Meeting House. 


New York came into the liSt of wall-paper producers in 


EARLY AMERICAN WALL-—PAPERS PEs 
1790 with the founding of a factory in Albany by John 


Howell and Son, who had formerly conduéted a similar busi- 
ness in England. 

Mr. Henry Burn, of the Robert Graves Company, says 
of this event : 


The Howells eStablished themselves at Albany, New 
York, but in a very modeSt way, their factory being a few 
rooms in the rear part of their dwelling. However, the 
amount of space required was not great, as the method of 
manufacturing was very crude, and the volume of business cor- 
respondingly small. Paper wasat that time made only in sheets, 
and had to be joined before being printed. Colour was then 
applied by means of a brush to form the background of the 
design, and the latter was subsequently printed upon the paper 
from wooden blocks, as many blocks being used as there were 
colours in the pattern, each block having a part of the 
pattern upon it in one colour. One block was printed the 
whole length of the paper before the next colour was applied. 


One of the members of this firm was Zophar Howell ; 
another was the son of John Howell. The Howells soon 
moved to New York City, leaving their original business in 
Albany to be carried on by Lemuel Steel, who came from 
Hartford, Connecticut, in 1815. From New York they went 
to Baltimore and then to Philadelphia, where their business 
was finally firmly eStablished, and is carried on to-day by their 
successors. 

In Philadelphia William Poyntell opened a factory in 
1791, and advertised in March of that year ‘‘ Paper made to 
any particular desire of ground and colours at Three Days’ 
Notice.” | 

Poyntell’s factory was Still running in 1797. In the spring 
of 1795, he has prepared for spring sales ‘“‘A very extensive as- 
sortment of Papers from a quarter of a dollar per piece upwards. 


250 HISTORIC WALL-—PAPERS 


Also a Stock of 4000 pieces of French Paper, from the lowest 
priced to the most superb patterns, with a variety of landscape 
pieces wanted for fire-bords and borders.’’ Although he manu- 
factured papers, he evidently increased his assortment by large 
importations. In April, 1797, he is expecting ‘‘daily, by the 
Spring Vessels, a considerable addition, both from England 
and France.’ 

Two papers that came from Poyntell’s shop are §till in 
use in a house in Allentown, New Jersey. They have been 
on the wall since 1794 and are remarkably well preserved, 
the design being clear and pronounced and the colouring Still 
brilliant. The pattern is characteristic of the period, show- 
ing the classic influence that dominated the time. It was 
printed on sheets 30 by 40 inches, whose joinings are visible 
in the photographs. 

Perhaps the moSt intereSting thing in connexion with 
these papers is the old bill, which is to-day in the possession 
of Mrs. Mary Emma Gordon, the owner of the house. It 
reads as follows: 


Philadelphia, April 18th, 1794. 
Bought of William Poyntell. 


Mr. Imlay. 
8 pieces Paper hanging 3/9: cn eee £1, Omae 
8 yards narrow black border If v.52 0. ome 
8 yards festoon 1/3 .seeee Ov ome 
IO pieces elegant paper 11/3... 5) ar 2aG 
24 yards elegant broad fruit border 11/7 1/27 ..9e 2 5 ano 
120 yards elegant narrow rose border 6d......... 3= 5 Ono 
G13 6 


Rec’d payment 
for William Poyntell 
Rt. Caldchare: 


17 





PAPER FROM THE SHOP OF WILLIAM POYNTELL, PHILADELPHIA 
Billed by him in 1794 and still in use in a house at Allentown, N. J. 


aye 


258 





3 


PAPER FROM THE SHOP OF WILLIAM POYNTELL, PHILADELPHIA 
Billed by him in 1794 and still in use in a house at Allentown, N. J. 


EARLY AMERICAN WALL—PAPERS 250 


Having only 10 pieces of the Elegant Paper, I have packed 
it all up, but at Mr. Imlay’s option, whether he chuses to keep 
or return what is left on putting it up, supposing that it might 
be agreeable to him to have some to spare in case of accident, as 
the same pattern cannot be replaced in case a small portion should 
be wanted at a future time. 


Wek. 


Another important American manufactory was that of 
Burrill & Edward Carnes in Second Street between Chestnut 
& Walnut Streets in Philadelphia. 

This factory opened in 1790. Its manager was a French- 
man named Anthony Chardon. 


As Burrill and Edward Carnes intend to carry on the 
said Manufactory on the most extensive plan, they are deter- 
mined to sell at a lower price than can be imported ; and it 
will be their conStant endeavour to introduce the newest 
patterns. ‘The taSte of any person may be gratified by giving 
a short notice. 

Orders for any quantity will be thankfully received and 
executed with punctuality and dispatch, and the usual allow- 
ance made to those who purchase to sell again. 

Their papers having Stood the test of examination by 
good judges, and being acknowledged to be equal to any 
imported, they hope to meet with encouragement from a 
liberal public and especially from the friends to American 
Manufactories. 

To prevent mistakes, they have thought it necessary to 
inform the public that their papers are marked Burrill & 
Edward Carnes, and are at present sold in this City at their 
Manufactory only. 


In the Federal Gazette of September 20, 1792, they 
announce that ‘‘the employ they give now constantly to 
thirty workmen enables them to keep a Stock from eight to 
ten thousand pieces.” 


260 HISTORIC WALL-—PAPERS 


On April 26, 1793, in the same paper : 


Burrill & Edward Carnes, at the old paper hanging 
Manufactory 71 Second Street, South, have now ready for 
sale a mo&t beautiful assortment of FIFTEEN ‘THOUSAND PIECES 
Parer, in Six Hunprep DIFFERENT PATTERNS from two to 
twenty-six colours, 

The New and Beautiful Figure of the DeStruction of 
the Bastile lately received from Paris, is now finished. 

N. B.— Any person wishing to have any particular pat- 
tern can be accommodated, as B. & E. Carnes constantly 
employ forty workmen to enable them to give general 
satisfaction. 


This factory was taken over in 1797 by its former man- 
ager, the Frenchman, Anthony Chardon, in his house in 
Eighth Street between Chestnut and Walnut Streets. Chardon 
two years later combined with another Frenchman named 
LeCollay, and with him eStablished a calico-printing manu- 
factory in conjunction with the paper-Staining factory. 

We soon find the products of LeCollay and Chardon 
acquiring a reputation throughout the country. James 
Berkman, Jr., at 240 Queen Street, presents them as the 
attraction of his shop in the New York Datly Advertiser of 
June 7, 1799. 

A neat assortment of paper hangings just received from 
the Manufactory of LeCollay and Chardon, at Philadelphia 
and to be sold very reasonable. 

He adds to this announcement — 

Wanted two good Calico Printers who will find suitable 
encouragement and constant employ at the Calico Manu- 
factory of said LeCollay and Chardon; if they are workmen. 

A little-known New York manufacturer of wall-papers 
advertised in the same year: 





OLD WALL-PAPER IN THE STANTON HOUSE, CLINTON, CONN. 
At one end of the room a deep wall-paper dado is employed under the windows 





OLD WALL-PAPER IN THE STANTON HOUSE, CLINTON, CONN. 
At one end of the room a deep wall-paper dado is employed under the windows 


262 


Mi 
¥. 
ba 
¥. 
¥. 

an 





PUMPKIN-COLOURED EMPIRE PAPER SAID TO REPRESENT 
THE LITTLE KING OF ROME, ALLOWED TO PLAY 
IN THE GARDENS AT MALMAISON 
This paper is to be found in a house in Clermont, N. H., in another in 
Marlborough, Mass., and in a house on Cabot Street, Beverly, Mass. 


“SANAOS AUNOIA TIVWS HLIM Suddvd 


AUIHSdNVH MAN NI ASNOH UAdVUG AHL NI SI AULNAD AHL NI LVAL 








ALL-OVER PAPER FROM THE DOYLE MANSION AT SALEM, MASS. 
Alternating views of a castle and a sweeping staircase 


EARLY AMERICAN WALL-—PAPERS 265 


Mackay and Dixey, having at considerable expense es- 
tablished a manufactory (of oil colours and Paper Hangings) 
at Springfield, East Jersey, the public are respectfully in- 
formed that they have now ready for sale an elegant and 
fashionable assortment of Paper Hangings — equal in quality 
and considerably cheaper than any imported. As they sign 
all their own patterns and also prepare every material neces- 
sary for conducting said business, they have it in their power 
to gratify the taSte of those who may please to encourage 
their undertaking in the moSt extensive variety. Plain 
paper of any colour that may be desired. Festoon borders 
of every description. Colours duly prepared in oil, or in 
water, may be had at a short notice. A few patterns of this 
paper may be seen at Mr. J. Trousons No. 11 Great Dock 
Street, where orders for any of the above articles will be 
thankfully received and executed with Strict attention. 


Still a few other important manufactories in America are 
to be noted before the beginning of the nineteenth century. 

The Albany Gazette of June 5th, 1795, contains the 
name of Thomas S. Webb, who has for sale at his paper- 
hanging manufactory at the Lower End of State Street, two 
doors from the Dock, a great variety of papers and borders. 
The rolls are twelve yards in length and from 2/6 to 20/a roll. 

Samuel Law of Philadelphia opened a ‘‘new American 
Manufactory of Paper Hangings”’ at 21, the Green Porch, 
corner of Black-Horse Alley, Second Street South, in 1790. 

In 1795, Ebenezer Clough founded the ‘Boston Paper- 
Staining Manufactory on the North Side of Prince Street, 
near Charles River Bridge.’ ‘The heading of his bill-head 
was engraved by Samuel Hill, a BoSton copper-plate en- 
graver, and shows a workroom surmounted by a spread eagle 
with the motto “Protection” in his beak. ‘The workroom 


scene shows the process of making paper-hangings at that 


266 HISTORIC WALL—PAPERS 


time, for it illustrates the mixing of colours, the sizing of 
paper, and the printing from hand-blocks. 

Ebenezer Clough is associated with one of the important 
events in the history of American paper-hangings, 

To commemorate the death of Washington, he issued 
in 1800 a memorial paper with the inscription, ‘‘Sacred 
to Washington.”’ The design is reproduced here. Two 
figures, Liberty and JuStice, are Standing beside a pedestal 
with an urn surmounted by an eagle. Liberty hides her 
face in her hand as if she were weeping. Below this central 
group are crossed flags; the whole monument is surrounded 
by a railing and enclosed in an archway formed by an 
architectural treatment. From fragments of this paper 
which I have actually had in my hands it is apparent that 
the entire background was originally a pale shade of blue. 
The figures and architectural] ornaments are printed in grey 
and black. 

The following announcement of this paper appeared in 
The Independent Chronicle and Universal Advertiser, Boston, 
September 22nd—2 5th, 1800. 


Washington’s Monument. Ebenezer Clough, Paper- 
Stainer * * * has for sale at his paper-Staining manufactory 
near Charles River Bridge an elegant device in Paper Hang- 
ings suitable * * * for halls, Stairways, etc. * * * inscription 
on the monument ‘Sacred to Washington ages 
As the above attempt to perpetuate the memory of the Best 
of Men is the production of an American, both in draft and 
workmanship, it is hoped that all real Americans will so 
encourage the manufacture * * * that manutacloricesss se 
may flourish and importations Stop. 


There is a legend that enough of this paper was presented 
to the Governor of each State, upon its publication, to suffice 





THE WASHINGTON MEMORIAL PAPER 
Photographed from a fragment in the possession of Mrs. Edith Parsons Morgan 


267 


268 


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EARLY AMERICAN WALL-PAPERS 269 


for the papering of aroom. A large panel of the paper Still 
exists in the Governor Tichenor House in Bennington, Ver- 
mont, now owned by Mrs. Leonard Outhwaite. Fragments 
have been found in a house in Sandisfield, Massachusetts. A 
fragment is preserved at the King Hooper House, Marblehead, 
Massachusetts; another is owned by Mrs. W. P. Ballard of 
Marblehead, and Still another is in the possession of Mrs. 
Edith Parsons Morgan of New York City. The hallway 
of “Sycamore Hall,” the home of the Misses Parsons, in 
Enfield, Connecticut, is papered with it. 

At the time of Washington’s death on December 14, 
The 1ist of them, 


together with the contemporary Governors, is as follows: 


1799, sixteen States had joined the Union. 


Pennsylvania .... Thomas McKean ...1799—1808 
memoceelciend.., xrthur Fenner... 2. 1790-1805 
South Carolina .. Edward Ruthledge . .1798—1800 
Miennessce.. . 4. onma evic terns 1796-1801 
WemMnont 0c e.. isaaceLichenore =a." 1792-1803 
V5) We he Aare aa amesm ViCNTOG «en 1799-1802 
Widssachusetis «Caleb Strong ....... 1800 

New Hampshire. .John T.Gilman..... 1794-1805 
New Jersey ..... Richard: tlowellier 1799-1801 
News York i044. pl oliri a] 2 Viger tee eee 1795-1801 
North Carolina ..Benjamin Williams. .1799-1801 
Sonnecticut... Jonathan Trumbull. . 1798-1809 
Delaware. ......- Richard Bassettar 41 790 lool 
eouglatek. iiss ames. | acksone a. 1798-1801 
eentocky 4%.) anies@(sa tra nCengeee 1796-1804 
ia VlAT Cie cia, a) Benjamin Ogle...... 1798-1801 


It is possible that Ebenezer Clough himself made the 
presentation of the Washington Memorial Paper to each one 
of these Governors. InveStigation into the various State 
Documents, however, has not as yet produced any evidence of 
the giver, nor has the Library of Congress any record of its 


being an official gift. 


270 HISTORIC WALL—-PAPERS 


In 1800 Josiah BumStead began manufacturing in Boston, 
Broad-minded and intelligent, he introduced many new 
improvements into his factory. In 1839 he travelled abroad 
and visited the eStablishment of Zuber in Alsace, the various 
factories in Paris, and the different places in England that 
were producing wall-papers. He kept a diary of this trip, 
which until 1908 was in the hands of his son, Nathaniel S. 
BumSstead, of Boston. With the death of the latter the 
diary has disappeared. The loss of it is regrettable; it 
would have proved an invaluable record of the manufacture 
of wall-paper of that day, not only in America, but also in 
Europe. 

In 1810, Edward Boriken became a local competitor of 
BumS&stead. 

Asa Smith, of Baltimore, carried on a factory of paper- 
hangings between 1800 and 1810. His most distinguished 
design is reproduced on page 275. 

From an advertisement of AuguSt 31, 1813, we can see 
that ambitious attempts are being made to improve design in 


>) 


American wall-papers. The ‘variety of views”’ referred to 
here by Moses Grant are probably small landscape medal- 
lions, such as those found in the Stanton House and the 


Dudley House at Hopkinton, New Hampshire. 


Fancy LanpscaPE Paper Haneines. Moses Grant, JR., 
No. 6 Union Street, Boston, have just completed additional 
figures of the present fashionable Hangings for Rooms, 
obviating the objection of too much sameness, by introduc- 
tion of a variety of views. The Dersicn, Paper, CoLours 
and Lasour are AMERICAN, and will bear the closest com- 
parison with imported. ‘They are offered to the public as 
specimens of the rapid improvement of this branch of manu- 
factures, Added to these, a great variety of Paper and Borders, 
from 25c. upwards per roll. 


2a 





No: 


HOPKINTON, 


WALL-PAPER IN THE DUDLEY HOUSE 





WALTHAM, MASS. 


, 


PAPER IN THE GOVERNOR GORE MANSION. 


WALL- 


EARLY AMERICAN WALL—PAPERS 273 


By 1817 the rage for scenic papers possessed New Eng- 
land. An excellent idea of the different decorations of this 
sort imported from France at the time is furnished by an 
announcement of James H. FoSter, 59 Marlborough Street, 
Boston, which appeared in the New England Palladium on 
December 2nd of that year. 


Ricw Paper Hanerincs Just ReEceivep. Setts of Monu- 
ments of Paris, a very elegant Hanging. Setts of the River 
Bosphorus. Do. English Gardens—Capt. Cook’s Voyage. 
Do. Views of Switzerland—HindoStan Scenery. Do. 12 
Months, with framing paper and border. The above are in 
colours and long-Strip landscapes. Atso a sett of rich cloth 
and gilt papers with top and bottom border to match. LIkE- 
wisE, Views in Italy—Water scenes. Views in Turkey— 
Roman Scenery. Do. Ports of Bordeaux and Bayonne, 
Elysian Fields, Grecian Arcadia, and many other landscape 
papers, making as great a variety as can be found at any Store 
in town, and at the lowe&t prices. Also small landscapes, 
drapery and satin Stripes with borders to match. Plain 
papers with rich cloth borders. A great variety of French 
common papers and a general asst. of AMERICAN PAPERS 
AND BorDERS, 


We can follow the fashions in wall-paper from these old 
newspaper advertisements as if we had actually lived at fic 
time. Satin and damask papers began to vie in popularity 
with landscape papers in 1813. 


Parer Hanecincs. James H. Foster at 59 Marlborough 
St. has for sale an extensive assortment of English and 
American Paper Hangings, from 25c. to $2.50 per roll, con- 
sisting of small Landscapes, Drapery, and various other figures, 
of the most fashionable patterns—with a variety of elegant 
and common borders, of workmanship equal to any in Boston. 
Yellow silk damask, moreens, handsome ball and common 
peiipcome Nt, beOCh 1c: 


18 


274 HISTORIC WALL-—PAPERS 


ParerR Hancincs. New and elegant patterns. J. BumSstead 
and Son, No. 68 Cornhill, have just imported in the Galaxy 
from Havre—27 cases of French Paper Hangings selected 
from the first Paris Manufactories. Elegant satin paper with 
rich borders, cloth ditto, a few sets of ‘‘Rideau a Bayadere” 
a new and most splendid paper for drawing rooms; sets of 
Views of distinguished places in Europe, Asia and America. 
Elegant chimney board pieces. A large assortment of Ameri- 
can Paper Hangings from our own factory. The colours 
warranted to be equal in durability to the French. Col. 
CenteMaye2 3 yaro2e 

ELecant Frencw Paper HANGINGS, among which are 4 
sets of Views, representing a Tiger Hunt— Hunting the Deer 
—Fishing—and Chinese Scenes, with Borders. James 
Cunningham, auctioneer, Col. Cent. March 19, 1825. 

Frencu Parper Hancincs. James H. Foster Has just re- 
ceived from Havre via New York, 12 cases and bales of Paper 
Hangings, consisting of Damask Satin, Satin Stripes, with rich 
cloth borders ; variety of landscape Views ; satin, marble, and 
common papers, which added to those on hand, make a large 
assortment, §Coll Gent e|ulye27sao2ne 

FRENCH PareR HaneineGs, §5 balesjust imported, of new 
and superior patterns, some of them varnished. Independent 


Chronicle and Boston Patriot, May 4, 1833. 

Eleven years after this advertisement the first colour-print- 
ing machine in this country is imported from England for 
the factory of John Howell in Philadelphia, and American 
wall-paper enters upon an era of development and expansion 
that could not possibly have been foreseen by the booksellers 
and Stationers who had a few quires of painted paper on their 
shelves at the beginning of the eighteenth century. 





POMPEIAN MEDALLION MADE BY ASA SMITH OF BALTIMORE, WHO HAD A FACTORY 
BETWEEN 1800 AND 1810 
In the Samuel Fowler house in Danversport, Mass., dated 1809 
(Courtesy of the Pennsylvania Museum) 


‘HN ‘ITIHUAAVH ‘ASQOH AUANODLNOW TVYANAD AHL NI WAdVd 








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EARLY NINETEENTH CENTURY WALL-PAPER WITH MEDALLIONS AND SMALL LANDSCAPES 
The borders formed stripes when the paper was put in place 


ar 





CHAPTER XII 


SOME FAMOUS SCENIC PAPERS AND THEIR 
OWNERS 





CHAPTER XII 
SOME FAMOUS SCENIC PAPERS AND THEIR OWNERS 


HE accompanying list, which cannot be a complete 

record, contains the result of more than two years’ 

investigation and correspondence with the possessors 
‘of famous old papers, in this country and abroad. 

It is perhaps something to have catalogued one hundred 
and forty-three examples of these treasures of a by-gone day,* 
but there must be many more that have not yet come to light. 
Besides those on the walls, there are the unknown papers, 
hidden away in attics, neglected, forgotten, uncared-for. 

Whenever possible, the name of the maker and the date 
of the paper is given here, together with its full description 
and its complete size. This, with the photographs, forms a 
record hitherto unprocurable which should be put in the 
hands of the future generation with the injunction to have 
and to hold, to love and cherish these heirlooms, and to 
Strive, in turn, to preserve them perfect and unharmed. 


*For the names and descriptions of other scenic papers not mentioned in this list, 
see Chapter XV. 


279 


# 
¢ 





SOME FAMOUS SCENIC PAPERS 281 


LES AMOURS DE PSYCHE 


Commonly called the Cupid and Psyche paper, and recog- 
nized as Dufour’s masterpiece. 

So far as is known, there are few original specimens of this 
paper in America. 

This paper was designed by Louis Laffitte, designer to the 

King, and winner of the Grand Prix de Rome in 1791. The car- 
toons for engraving the blocks were made by Mader pére. 
’ The paper consists of twenty-six strips in grisaille and sepia, 
each about 20 inches wide and 5 feet 7 inches high, which form 
twelve complete pictures, depicting all the scenes of the mytho- 
logical story: ‘The parents of Psyche consulting the oracle, 
Psyche carried off by the zephyrs, Psyche at the bath, Psyche 
showing her jewels to her sisters, Psyche’s attempt to stab 
Cupid, Psyche abandoned, Psyche picked up by a fisherman, 
Psyche carrying back a glass of the water of youth, Psyche 
descending to the infernal regions, Psyche returning from the 
inferno, reconciliation of Venus and Psyche, marriage of Cupid 
and Psyche. 

Dufour of Paris printed and issued the paper from his ateliers 
at 10, rue Beauveau. 

The date of the first edition has only recently been fixed by a 
discovery by M. Charles Follot, who now occupies the old factory 
of Dufour, through finding under other layers of paper in his 
office a panel of the original ‘‘ 4mours de Psyché” bearing the 
inscription in Dufour’s own handwriting, “This paper was 
invented by Joseph Dufour in the year 1816.” 

Four of the designs were exhibited by Laffitte in the Paris 
Salon of 1817. 

The 1500 wood-blocks used in printing this paper were pur- 
chased after Dufour’s death by the firm of Desfossé et Karth, 
who are still printing modern editions. About thirty of the blocks 
became so worn that it was necessary to re-engrave them. 


282 HISTORIC WALL-—PAPERS 


1. One was discovered in a panel behind a large mirror in the 
house in Salem built by John Albion Andrew in 1818 and later 
owned by the Saffords. 

2. An original set is in the Bonaparte house, Philadelphia, 
at 260 South Ninth Street, whose present owner is Mrs. Walter 
James. 

3. The Rosenbach Galleries in Philadelphia own a set of the 
original edition. 

4. The Musée des Arts Decoratifs in Paris owns a complete 
original set. 

5. An original set was installed in the Chateau de Valencay, 
in the bedroom of the King of Spain, one of the famous Empire 
interiors of France, and is still to be seen there. In this setting 
it is used as a frieze above a high wainscoting. 


aN 





LES AMOURS DE PSYCHE: RECONCILIATION OF VENUS AND PSYCHE 


ees 
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rite va 


an eens 
Sfeye) 


— 





la 


LES AMOURS DE PSYCHE: PSYCHE AT THE BATH 





LES AMOURS DE PSYCHE: PSYCHE SHOWING HER JEWELS TO HER SISTERS 


286 





LES AMOURS DE PSYCHE: PSYCHE DISCOVERS THAT THE SLEEPING YOUTH IS CUPID, 
THE GOD OF LOVE 


HISTORIC WALL—PAPERS 287 
CHASSE A COURRE (THE HUNT) 


Printed by Jacquemart et Bénard—In colours. 


1. A set in the John Albion Andrew house, Salem, Mass., 
later owned by the Saffords. 
2. A setin the house of Mr. Horace Morse, New Berlin, N. Y. 


288 





CHASSE A COURRE (THE HUNT) BY JACQUEMART ET BENARD 
In the John Albion Andrew house, Salem, Mass. 





ANOTHER PANEL OF THE HUNT 
In the John Albion Andrew house 


19 


290 HISTORIC WALL—PAPERS 


CHINESE PAPER WITH TEMPLE PROCESSION, 
JUNKS, AND TEA-HOUSES 

1. In the Lathrop house, Stockport, Columbia County, N. Y. 

Captain Seth Macy was a sea-captain. On one of his trips 
on a merchant ship, he brought back supplies of foreign wall-paper 
to a dealer in Philadelphia, from whom he afterwards purchased 
this paper to put in his living-room. 

The paper is in sepia, and is printed from hand-blocks about 
18 inches square, on rice paper. 

The scenes represented are Chinese, but the faces and the fig- 
ures were evidently not drawn by a Chinese artist. It is proba- 
ble that the paper was done either in Holland, England, or France. 

On the north wall of the living-room is a Chinese temple 
from which a religious procession has just issued. It is headed 
by a trumpeter, blowing a strangely shaped instrument; after 
him come priests beating a drum held upright by two other 
priests, followed by musicians, banner-bearers, and a group 
carrying a standing figure on a platform with incense burning 
before it. There is a tall pagoda at the right of the panel, and 
the Wall of China in the background. 

The panel on the east wall by the window represents a tea- 
party in a small tea-house, with guests arriving in boats. Over 
the mantel is a Chinese junk. 

Miss Janet Lathrop, who is now living in the house, says that 
the paper was taken off in 1904, restored and put back, and 
coated with parafhine to preserve it. 

2. Part of a paper exactly like this has recently been put on 
the walls of a small dressing-room in the house of Miss Anne 
Morgan, in Sutton Place, New York. 





CHINESE TEMPLE PROCESSION 
In a dressing-room at Miss Anne Morgan’s, Sutton Place, New York 


292 HISTORIC WALL—PAPERS 


COURSES DES CHEVAUX (THE HORSE RAGE 


A grisaille paper, printed by Zuber in 1838. The paper con- 
sists of 32 strips, each of which is 12 feet high and 18 inches wide. 

The scenes include: Flat-racing at Newmarket, the races in 
Rome, obstacle-racing. 


Three large panels of the original edition, containing about 
18 strips, are in the collection of Nancy McClelland. 


293 


THE HORSE RACE, BY JEAN ZUBER, 1838. FROM 


4 


ae 
eel ee 





AN OLD PRINT 





294 HISTORIC WALL—PAPERS 


DIRECTOIRE PAPER IN GREEN, GRISAITT UE 
SEPIA, WITH ARCHITECTURAL AND LANDS@ar 
BACKGROUND AND SMALL FIGURES AFTER BOSIO 

This paper is purely Directoire in design, execution, and tech- 
nique, and is one of the best proofs that scenic papers were made 
before 1804. Produced by Arthur et Robert. 


1. Five strips in the Metropolitan Museum, New York. 

2. An entire room in the possession of Mrs. Paul Moore, 
Convent, N= J: 

3. An entire room of five large panels, each with an old border 
in hydrangea design, in the possession of Mrs. George Fales 


Bakery jr New ore 


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DIRECTOIRE PAPER BY ARTHUR ET ROBERT 


Belonging to Mrs. George Fales Baker, Jr. 


Green, grisaille, and sepia 


296 HISTORIC WALL—PAPERS 


DIRECTOIRE PAPER IN GREYS AND BLUESS Wie 
ARCHITECTURAL SCENES AND SMALL FIGURES 
SEEN THROUGH ARCHES OF WHITE FLOWIERS 


1. Formerly in the Forrester house, Salem, Mass., but now 
removed from the walls. 

2. Ina house in Nantucket, Mass. 

3. In the collection of Charles Huard, Versailles, France: 


‘se ‘e 


eo eS E 
OP ee ~ 





DIRECTOIRE PAPER IN COLLECTION OF CHARLES HUARD 


298 HISTORIC WALL—PAPERS 


DON QUIXOTE PAPER 


In grey, it depicts the history of Don Quixote setting out 
with Sancho Panza in quest of the great adventures from which 
he returned a sadder and a wiser man. 


1. In the Bailey House, Bath, Maine. 


2. Ina house in Salem, Mass. 


200 








WITH PRINTED DADO 
Salem, Mass. 


’ 


DON QUIXOTE PAPER 





300 HISTORIC WALL—PAPERS 
LES DOUZE MOIS wee IWELY if a 


Paris. wlure oes are in turquoise bite on a ground of g 
ish mauve. 


301 





Progiis 
i 
asters s 


Bad Ree. 


YEAR, DESIGNED BY FRAGONARD FILS 


FROM THE SERIES OF THE TWELVE MONTHS OF THE 
Collection Follot 


JOTJOA WONDAT[IOD 
STld GUVNODVUA AWG GANDISAG ‘SHLNOW AATAML AHL AO OML 


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SOME FAMOUS SCENIC PAPERS 303 
HARBOUR SCENE 


1. Governor Badger homestead, Gilmanton, New Hampshire. 
2. Old house in Rockville, Mass. 


Not illustrated 


304 HISTORIC WALL-—PAPERS 


ELDORADO 


Printed by Zuber in 1849 and designed by Ehrmann and 
Zipelius. ‘There are 20 strips in colour, which required about 


2000 blocks. 


1. An original set in the house of Mrs. Van Rensselaer, 385 
State Street, Albany, New York. 

2. Original set in the Salem Club, Salem, Mass. 

3. In the dining-room of Memorial Continental Hall, D.A.R., 
Washington, D.C. 

4. In the house of Mrs. George Mifflin at North Andover, 


Mass., where it was put more than fifty years ago. 


Modern editions of this paper are now being printed from 
the old blocks. 





OVERMANTEL PANEL FROM ELDORADO 
In the Salem Club, Salem, Mass. 


20 


306 HISTORIC WALL-—PAPERS 


LES FRANCAIS EN EGYPTE (THE FRENCH IN 
EGYPT) 


Printed by Dufour about 1814. In brilliant colours. 

The complete set consists of thirty-two strips, formed by 
pasting together small sheets of paper. 

The main part of the panorama represents the victory of the 
French over the Turks in the battle at Mataria on March 20, 
1800. Kleber is shown on a white horse accepting a spear from 
one of the wounded enemy. On a tall obelisk in the foreground 
is the inscription, ‘‘On the twentieth of March, 1800, 10,000 
French, under command of the brave Kleber, vanquished 80,000 
Turks on the plains of Heliopolis.”’ 


1. A set formerly in the house of Mr. Henry Dewitt Freeland, 
at Sutton, Mass. 

2. A set in the Art Institute of Chicago, which was purchased 
in Paris and brought to this country by a wealthy merchant of 
Montpelier, Vermont, named Zebina Camp. Presented to the 
Museum, by Mrs. Ernest H. Hicks. 

3. A set in the collection of Mr. John J. Morrow, New York. 

4. Six strips in grey and sepia on a screen belonging to Mrs. 


J. D. Lyon, New York. 

















FOUR STRIPS OF THE FRENCH IN EGYPT 
From the set of paper presented to the Art Institute of Chicago by Mrs. E. H. Hicks 








308 HISTORIC WALL-PAPERS a4 
FRENCH SCENIC PAPER WITH VIEWS OF T 
AND COUNTRY ae 


Early nineteenth century. 


A partial set in the possession of George M. W 
Mass. | 


* au 
Y 


The illustration of the complete paper is given here. 


BoD 


SEA Bis BOD EOE 


RR “o. 
Ipedt 2° IPS. 
POA ae ee 








VIEWS OF TOWN AND COUNTRY 


310 


AULNNOD GNV NMOL AO SMAIA 

















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VIEWS OF TOWN AND COUNTRY 








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VIEWS OF TOWN AND COUNTRY 





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VIEWS OF TOWN AND COUNTRY 


ey) HISTORIC WALL-—PAPERS 


LA GALERIE MYTHOLOGI QUE (THE MYTHOLOGICAL 
GALLERY) 
Printed in 1814 by Joseph Dufour of Paris in grisaille. 
There are 24 strips in the complete paper, which form 
various panels, as follows: 


The Vengeance of Ceres, 2 strips. 
Phaéton and Apollo, 3 strips. 
Venus and Diana, 2 strips. 

The Judgment of Paris, 4 strips. 
Time and the Seasons, 3 strips. 
The Muses, 4 strips. 


In addition there are six strips which have designs of trophies 
or accessories, to be used in combination with the panels. 


The only complete example of this paper to be found in 
this country is in the small hallway of Mr. James Deering’s house, 
Viscaya, at Miami, Florida. 


pe) 


THE 





MYTHOLOGICAL GALLERY IN THE HOUSE OF JAMES DEERING, MIAMI, FLORIDA 
Panel of Phaeton and Apollo 


aSNOH ONIUAAG 


sued jo wuowspnf sy. 
SaWV{ AHL NI AYATIVD TVOIODOTOHLAN 


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Serve ST IEz) 


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THE MYTHOLOGICAL GALLERY: VENUS 
Part of Venus and Diana 


318 HISTORIC WALL-—PAPERS 
THE HUNT, BY VERNED 
Thirty strips in grisaille. 


1. A complete set in the dining-room of Mrs. William C, 


Langley, Westbury, Long Island. 
2. Twenty-seven panels in collection of Nancy McClelland, 


New York. 


The illustration of the complete paper is given here. 


SN 





THE HUNT, BY VERNET 
In the house of Mrs. William C. Langley, Westbury, Long Island 


320 


LANUAA AG GANOISAG “LNOH AHL 





321 





THE HUNT, DESIGNED BY VERNET 


21 


322 HISTORIC WALL—PAPERS 


LES INCAS (THE INCAS, COMMONLY KNOWN AS 
RIZARROJINEEL Res 


Printed in 1832 by A. Leroy, successor to Dufour. The 
complete set consists of thirty strips in colour. The scenes are 
those of the invasion of Peru by Pizarro, in 1531, the story being 
taken from Marmontel’s book, “Les Incas, ou la Destruction de 
’Empire du Perou.” 


1. This paper, Télemaque, and Antenor are mixed in together 
in the first and second halls of ‘“‘The Lindens,” the headquarters 
of General Gage, at Danvers, Mass., now owned by Mrs. Ward 
Thoron. 

2. A small part of Les Incas is in the King Cesar House, in 
Duxbury, Mass., now owned by Mr. F. B. Knapp. 











i ARR URS ASE Bh 5 


PANEL OF LES INCAS IN THE LINDENS, DANVERS, MASS. 
Owned by Mrs. Ward Thoron 


324 HISTORIC WALL—PAPERS 
JACKSON OF BATTERSEA’S PAPER, ROMAN RUINS 


Panels of Piranesi-like scenes, with paper borders imitating 
stucco frames. ‘These were used in combination with medallions 
and cartouches inspired by Pillement, and also with trophies 
and overdoors, to complete the room. Printed in 1756—1790. 


1. A set brought from Holland was in the original Van Rens- 
selaer Manor House in Albany, and is now in the possession of 
Mr. William Van Rensselaer. The borders are lemon-yellow: the 
panels are in grey. 

2. A set purchased at 11 Regent Street, London, is still to be 
seen in the Jeremiah Lee mansion, in Marblehead, Massachu- 
setts. It was put on in 1768, when the house was built. 

3. A set is in Harington House, England, dated 1786. The 
ruins are in green, the ground is pinkish grey, and the borders are 
in sepia. 


freee Creer reer aero so es 


etsliandiainann eens 





ROMAN RUINS. PAPER BY JACKSON OF BATTERSEA 
In the original Van Rensselaer Mansion, Albany, N. Y. 


a ceo ee ee 


a tii ar En 


i: 


a 
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| 
4 
i 


Ente sak saves 





DOORWAY IN HALL OF THE ORIGINAL VAN RENSSELAER MANSION 
Panels of trophies and musical attributes by Jackson of Battersea 





ROMAN RUINS BY JACKSON OF BATTERSEA 
Panel from Van Rensselaer Mansion 





SMALL MEDALLION PANEL BY JACKSON OF BATTERSEA 
From the Van Rensselaer Mansion, Albany 














Jaded s easioneg jo uosyef Aq poulloy suole1099q 
“AN ‘ANVATV ‘NOISNVW UAVTASSNAY NVA ‘IVNIDIYO NI AVMUOOG 








330 HISTORIC WALL-—PAPERS 


LE JARDIN D’ARMIDE (THE GARDEN OF ARMIDE) 


Printed by Desfossé et Karth in 1855 and awarded the prize 
at the Paris Exposition of that year as the most beautiful example 
of machine-printing. The complete paper consists of two pic- 
tures, formed by five strips and four intermediary strips. Statues 
and trellis in colour. 


1. In the house of Mrs. Gordon Abbott, Boston, on the land- 
ing and staircase. 

2. In the Musée des Arts Decoratifs, Paris. 

3. In the collection of Nancy McClelland. 


(SH¥d ‘WEY 19 gssojsaq] jo AsaINOD) 
STANVd NI GASOdWOO ‘ACINUV AO NAGUVO AHL 























PUNE SENSE Ne TN OO Ve A 


meee 





RZ HISTORIC WALL—PAPERS 


DEOPETITADECOR 


Printed by Joseph Dufour. 
This paper was re-edited in 1830 and brought up to date in 
costumes. It is in bright colours. 


. In a house in Chilton, Ga. 
. In the collection of Nancy McClelland, New York. 
. In the Mayo house, Canton, Mass. 
4. In the Patuxent Gun Club, Hill’s Bridge, Prince George’s 
County, Maryland. 


WwW Pb & 


Nore.—The same blocks were used for the background of “Le Cid,” 
but Spanish figures and costumes were inserted in place of French ones. A 
set of the Cid is owned by Mrs. D. D. Tenney, 2318 Park Avenue, Minneapolis, 
Minn. For illustrations see pages 181 to 183. 


3533 





LE PETIT DECOR, 1830 EDITION 





SiSias 


NOILIGA 


ofgt ‘YOOAd LILAd aT 








LE PETIT DECOR, 1830 EDITION 


336 HISTORIC WALL—PAPERS 


LES MONUMENTS DE PARIS (THE MONUMENTS 
OF PARIS) 


Printed by Dufour in 1815. The set consists of thirty strips 
in colour, formed of small sheets glued together. 

All of the important buildings of Paris are shown in this 
paper, moved up along the banks of the Seine. There are to be 
seen |’Hétel des Invalides, the Beaux Arts, the Arc de Carrousel, 
the Colonne Vendome, St. Sulpice, the Tour St. Jacques, Notre 
Dame-etc 

In the foreground are fantastic pastoral scenes of people 
hunting, fishing, and bathing on the banks of the Seine. 

This paper was one of the most popular of the time and is to be 
found in many houses in this country. The set at the time of the 
first edition was sold for fifty francs. 


1. In the house of the grandfather of Professor W. E. D. 
Scott, curator of Princeton University. 

2. In the Cook-Oliver house, 142 Federal Street, Salem, Mass. 

3. In the Walker house at Rockville, Mass. 

4. In the Knapp house, Walpole, N. H., built by Josiah 
Bellows 2nd in 1812. 

5. In the house of Mrs. J. B. Lyman, Ashby, Mass. 

6. In the Elmwood Inn, Walpole, N. H. 

7. In the Appleton Inn, New Ipswich, N. H. 

8. In the house of Mrs. Hugh Nelson, ‘‘Long Branch,” 
Clarke County, Va. 

g. Ina house in Bellows Falls, Vt. 

10. In the house of Mrs. Edward S. Moore, at Roslyn, L. I. 

11. In the house now owned by the Mann family, Bucks- 
port, Me. 

12. Inthe house of Miss Kate N. Doggett, Fredericksburg, Va. 

13. In“ Friendfield House,” near Georgetown, South Carolina. 

14. A large panel, sixteen feet long, in the collection of 


Nancy McClelland. 


SIS 


THE MONUMENTS OF PARIS, PRINTED 


BY DUFOUR IN 





22 


338 HISTORIC WALL—PAPERS 


PAYSAGE A CHASSE (LANDSCAPE OF THE HUM 


Printed in colour by Zuber in 1831. The set consisted of 
thirty-two strips. Designed by Deltil. 


Two sets of this paper were chosen by Martin Van Buren 
to form the decoration of his hall at ‘‘ Lindenwald,”’ Kinderhook, 
N. Y., where the paper still exists. 





LANDSCAPE OF THE HUNT, DESIGNED BY DELTIL AND PRINTED BY ZUBER IN 1831 
From the Martin Van Buren house, Kinderhook, N. Y. 


340 HISTORIC WALL-—PAPERS 


PAUL ET VIRGINIE (PAUL AND VIRGINIA) 


Designed by Brock and printed by Dufour of Paris, in 1820. 
Illustrating the story by Bernardin de Saint Pierre. In colour. 


1. The only known set in this country is in the Blaine house 
in Carlisle, Pa. Now owned by Mr. J. Webster Henderson. 

2. Acomplete set is owned by M. Charles Follot, of Paris, and 
is placed in the hall of his country house at Mandres, the Chateau 
de Beausejour. 


3. A set in the possession of Mrs. Henry Berbey, Bellevue, 
near Geneva, Switzerland. 


The illustration of the complete paper is given here. 


341 





PAUL AND VIRGINIA. DOMINGO AND THE DOG, FIDELE, DISCOVER THE TWO YOUNG PEOPLE, LOST IN THE 
MOUNTAINS WHILE PERFORMING THEIR ERRAND OF MERCY 
: Follot collection 


om 


i 
ce 


ae 
So 


342 


U01}92][09 JOT [04 
YALLIT V NO A1dOdd ODNNOA OM.L AHL ANOH AUUVO SAAVIS “VINIOUIA GNV TNVd 








343 


PAUL AND VIRGINIA. THE PLANTER 


AGREES TO VIRGINIA’S PLEA TO PARDON HIS 
Follot collection 





RUNAWAY SLAVE 





PAUL AND VIRGINIA’S LAST INTERVIEW. THE HURRICANE AND THE SHIPWRECK OF 
Follot collection 


THE SAINT-GERANT 


Pas 


SOME FAMOUS SCENIC PAPERS 345 


EP AIDY LOG THE LAKE 


Printed by Zuber, around 1830, in grey and sepia. 
A descriptive narrative, founded on Scott’s poem. 


1. In the house of Rev. Pelham Williams, at Greenbush, 
Mass. 

2. In the house of William E. Marvin, Middle Street, Ports- 
mouth, N. H. 

3. In the Hayward house, Wayland, Mass. 

4. In a house in Milton, Mass. 

5. In the collection of Nancy McClelland. 

6. In the house of Mrs. Allen T. Chase, formerly in the pos- 
session of the Hinckley family, at Barnstable, Cape Cod. 

7. Afragment in the Nicholas Ward Boylston house, Prince- 
ton, New Jersey, now owned by Mrs. George. 

















THE LADY OF THE LAKE ; 
“Each boatman, bending to his oar, 
With measured sweep the burthen bore.’’ / 








THE LADY OF THE LAKE 
“Then, like a sunbeam, swift and bright, 
: She darted to her shallop light.”’ 
7 








348 HISTORIC WALL-—PAPERS 


RENAUD ET ARMIDE (RENAUD AND ARMIDE) 


Printed by Leroy in 1828, the complete set consisting of 
thirty-two strips in colour. The story told in the paper is as 
follows: 

Renaud, one of Charlemagne’s knights, on his return from 
Jerusalem, falls under the enchantment of Armide, in her mag- 
nificent gardens. She tries to keep the knight with her by all 
sorts of gorgeous fétes and delights of the senses. His compan- 
ions come for him, bring his famous steed and put into his hand 
his invincible sword, with which he vanquishes the demons of the 
enchantress. Finally he is carried off in a romantic boat, leaving 
Armide on the shore with outstretched arms. The end of the 
paper is the burning and destruction of Jerusalem. 

A complete set is to be found in the house of Mr. Frank 
Crocker, at 123 East 73rd Street, New York. Now owned by 
Mr. F. H. Osborn. 


The illustration of the complete paper is given here. 


349 


RENAUD 


AND ARMIDE. RENAUD FALLS 





UNDER THE SPELL OF ARMIDE IN HER BEAUTIFUL GARDENS 


352 


GuOMS GALNVHONG SIH HLIM AGINUV AO SNOWAC AHL SHHSINONVA GOAVNAU 








sy) 4 





RENAUD’S COMPANIONS CARRY HIM AWAY IN A BOAT 


R62 HISTORIC WALL—PAPERS 
PAUL REVERE WALL-PAPER 


In the living-room of the house in Boston occupied by Paul 
Revere during the Revolution. One side wall is still hung with 
the original paper: the wall shown in the illustration is covered 
with a reproduction. 

This paper was imported from England. On the back was 
found the tax stamp surmounted by an English crown. It occurred 
at intervals of 12 or 15 inches on each small sheet. 

There is a date on the Church tower, which is enclosed by two 
classic columns, entablature, and arch. The tower is surmounted 
by a St. George and the dragon and is of Sir Christopher Wren 
type, representing one of the old London towers. 

It is assumed that the paper must have been hung in this 
house before 1750. ‘The design has been reproduced by Thomas 
Strahan. 


PAUL REVERE 


WALL-PAPER 


IN 





LIVING-ROOM OF HIS BOSTON HOUSE 


23 


354 HISTORIC WALL-PAPERS 


LE REVE DE BONHEUR (THE DREAM OF HAPPINESS) 


Printed by Desfossé et Karth in Paris in 1825. There are four 
panels. 


1. A set in the house of Mrs. J. Fenimore Cooper, at 
Cooperstown, New York. 

2. A set in the Metropolitan Museum, New York. 

3. A set in the Pennsylvania Museum, Philadelphia, Pa. 

4. A set in the Daniel P. Parker mansion, 40 Beacon Street, 
Boston, now occupied by the Woman’s City Club. Two other 
sets imported at the same time were placed in private houses 
of which there is no record. 


The illustration of the complete paper is given here. 





THE DREAM OF HAPPINESS 


itan Museum 


Metropol 





THE DREAM OF HAPPINESS 


itan Museum 


Metropol 


Sows 





THE DREAM OF HAPPINESS 
Metropolitan Museum 





THE DREAM OF HAPPINESS 
Metropolitan Museum 





SOME FAMOUS SCENIC PAPERS 359 
WASHINGTON MEMORIAL PAPER 


For illustration see page 267. 


Printed in 1800 by Ebenezer Clough of Boston, Mass. 
Background of pale blue, design printed in grey and black 
with the inscription “Sacred to Washington.” 


1. The paper still exists in the Governor Tichenor house, in 
Bennington, Vermont, now owned by Mrs. Leonard Outhwaite. 

2. Fragments were found in a house in Sandisfield, Mass. 

3. A fragment is preserved at the King Hooper house, 
Marblehead, Mass. 

4. A fragment is owned by Mrs. W. P. Ballard, Marblehead, 
Mass. 

5. A fragment in the possession of Mrs. Edith Parsons 
Morgan, New York City. 

6. In “Sycamore Hall,” home of the Misses Parsons in 


Enfield. Conn. 


360 HISTORIC WALL-—PAPERS 


PAYSAGE INDIEN (HINDOSTAN SCENERY) 


Printed by Dufour of Paris in 1815. The set consisted of 


twenty strips in colour. 
A set still exists in the Putnam-Hanson house at 94 Boston 


Street, Salem, Mass. 


f 


4 


es peer it glee 
i 


is 


a 
i 


s 
= 


re 
& 
ce 
A 
4 
he k 
ee 
on 
t.. 
hs 





PAYSAGE INDIEN 
In the Putnam-Hanson house, Salem, Mass. 


a a ea 





PAYSAGE INDIEN 
Putnam-Hanson house, Salem, Mass. 

















PAYSAGE INDIEN 
Putnam-Hanson house, Salem, Mass. 


3604 HISTORIC WALL-PAPERS 


LES RIVES DE BOSPHORE (BANKS OF - 
THE BOSPHORUS) 


Printed by Dufour about 1816. ‘The complete set consists 
of twenty-five strips in colour. The scenes are landscapes with 
a river and caiques. 


1. In a house on Maple Street, Montpelier, Vermont, where 
it was placed in honour of a visit of Lafayette. It has been re- 
moved from the walls of the parlour and sections of it placed on 
the attic walls. 

2. In the drawing-room of the Colonel Lee mansion at Mar- 
blehead, Mass., now owned by Mr. Kemble. 

3. A fragment in Monroe Tavern, Lexington, Mass. 

4. In the house of Mrs. Rodney Mason, Sackett’s Harbor, 
INS Ye 

5. In the house of Roger S$. Warner, 58 ChestnuteStrees 
Boston, Mass. ‘This set was taken from the old Pearson house in 
Beverly, Mass. 

6. In the house of Miss Helen T. Chickering, Milton, Mass. 





BANKS OF THE BOSPHORUS 
Photographed in the William Raymond Lee mansion, Marblehead, Mass. 


366 | HISTORIC WALL-PAPERS 


LES SAUVAGES DE LA MER PACIFIQUE (CAPTAIN 
COOK WALL-PAPER) 


Printed by Dufour in Macon and fully described by him in a 
little brochure printed by Moiroux of Macon, in the year XIII 
(1804-1805). A translation of a large portion of the booklet is 
printed in Chapter XIII. 

This paper was designed by J. C. Charvet and shown at the 
exposition of 1806. It consisted of twenty rolls in colour, formed 
by pasting together small strips, and, next to Les Monuments 
de Paris, is the paper nearest in effect to a tapestry. 


1. An example is to be found in the Pennsylvania Museum, 
but is not complete. 

2. A complete set is in the Ham house at Peabody, Mass., 
now owned by Miss Annie Symonds, the sole surviving member 
of the Ham family. 

3. A set in the Ruel-Williams mansion, 74 Coney Street, 
Augusta, Maine. 

4. In a house near Hoosic Falls, N. Y. 

5. Seventeen strips are in the possession of Mrs. Charles A. . 
Brown of Salem, Mass. 

6. Eighteen strips are in the collection of Nancy McClelland. 


The illustration of the complete paper is given here. 





, 


CAPTAIN COOK PAPER: NATIVES OF NOOTKA, ULIETEA, AND HAPPAEE 


la 


3YOOD NIVLdVO AO HLVAG GNV AONVO UVM ‘OOL-O ONIN AUOATA STAID ILTHV.LO AHL dO AONVG AHL ?*UddVd NOOD NIVLdVO 





CAPTAIN 


COOK PAPER: 


10 
NATIVES 


11 12 13 
OF NEW ZEALAND, STRAITS OF PRINCE WILLIAM, ANNAAMOKA, AND NEW CALEDONIA 





24 


SANVISI MOTAd ANV ‘UALSVA ‘ASINOUVW “ANILSIYHO “LS 
4AO SHALLYN ‘OSVLVONOL JO GNVISI AHL NI HOLVYW ONITLSAUM *WAdVd AOOD NIVLIdVO 





SOME FAMOUS SCENIC PAPERS Bi 
THE SEASONS 


In the Boston Museum, formerly in the house of Professor 
Young, of Dartmouth College, Hanover, N. H. In grisaille. 

This paper was removed from the walls of Professor Young’s 
house. In the process, it separated into the original small pieces, 
due to the steaming. It was put together in 1920 by Miss Grace 
L. Temple, and mounted. Dartmouth College presented it to 
The Museum of Fine Arts, Boston, Mass. 

Another set is in the Nicholas Ward Boylston house, Prince- 
ton, N. J., now owned by Mrs. George. This set was imported 
by John Quincy Adams about 1818. 


The illustration of the complete paper is given here. 


3/2 





THE SEASONS: SPRING 
Museum of Fine Arts, Boston 





THE SEASONS: SUMMER 
Museum of Fine Arts, Boston 


374 


uoysog ‘sy 9U1y jo wnasny 
NWO.LOV ‘SNOSVdS AHL 





375 





WINTER 


THE SEASONS 


Boston 


’ 


Ss. 


Museum of Fine Art 


376 HISTORIC WALL—PAPERS 


TELEMAQUE DANS L’ISLE DE CALYPSO 
(TELEMACHUS IN THE ISLAND OF CALYPSO) 


Printed by Dufour of Paris about 1825. ‘The complete set 
consisted of twenty-five strips in colours, and the scenes are con- 
structed on the account of the adventures of ‘Telemachus, 
described by Fénelon, when, accompanied by the goddess 
Minerva in disguise, he fared forth on his long search for his 
father, Ulysses. Venus, to frustrate his efforts, intrigues to make 
Telemachus enamoured of Calypso so that he will not leave the 
island. Unfortunately Telemachus falls in love with one of 
Calypso’s nymphs instead, bringing the wrath of the goddess 
upon his head. To protect him, Minerva pushes him from a 
cliff, jumping after him into the sea and guiding him to a boat 
that lies at anchor to bear him away to safety. 


1. In the house of Mr. John Lovett Morse, at Taunton, Mass. 

2. Formerly in the house of Mr. Henry Dewitt Freeland, at 
Sutton, Mass. 

3. On the hall of ‘‘The Hermitage,” the home of Andrew 
Jackson, near Nashville, ‘Tenn. 

4. In the house of Mrs. Charles F. Perry, at 47 High Street, 
Newburyport, Mass. 

s. Five strips on a screen belonging to Mrs. John Quaintance, 
Grand Rapids, Michigan. 

6. A partial set in “The Lindens,”’ now owned by Mrs. Ward 
Thoron, Danvers, Mass. 

7. In the house of Mrs. Hugh Hatfield, Hanover, Mass. 

8. Twenty strips in the collection of Nancy McClelland. 


Se 





PEER TEE ee A ce ela 


SOeUOT TTT TRUE TEESE EE TET ES 


TELEMACHUS IN THE ISLAND OF CALYPSO 
Venus appears in her chariot in a cloud to vent her wrath on the young man who has not obeyed her orders 





378 HISTORIC WALL-—PAPERS 


VOYAGES D-ANTENOR (ANTENOR’S TRAVELS) 


Printed by Dufour about 1830. The complete set consisted of 
25 strips in colour. 

‘““'The wise Antenor,’ 
one of the Trojan princes and elders. He is said to have advised 
sending Helen of Troy back to her husband. He was not un- 
friendly to the Greeks, and by some writers is accused of betray- 
ing the city to them. A panther’s skin, affixed to his door, was 
the sign to spare his house when Troy was sacked by the enemy. 

The paper illustrates his wanderings afterwards, when, ac- 
companied by Helen of Troy and Menelaus, he is supposed to 
have founded a city at Cyrene or Padua. 


2, 


as he is always called in the Iliad, was 


1. A panel formed of six strips of this paper is in the dining- 
room of Mrs. E. B. Thayer, at 270 Park Avenue, New York. 

2. Portions of the paper, showing the swing and the water- 
pavilion, are intermixed with Telemachus and the Incas, in the 
hallway of the Lindens, Danvers, Mass. 


B70 





VOYAGES D’ANTENOR, BY JOSEPH DUFOUR 
The complete paper, taken from the reference book of Desfossé et Karth, Paris 


380 


HISTORIC WALL-—PAPERS 


A PAPER KNOWN AS “VENETIAN SCENES” 


DONE AFTER DESIGNS BY VERNET 


Boats, landscapes, and fishing scenes, in grisaille or sepia. 


I. 
DQ 


In the house of Mrs. E. C. Cowles, Deerfield, Mass. 
In the Abraham Wheelwright house, at Newburyport, 


Mass., now a home for old ladies. 


2 
4. 


In the house of Mr. Henry O. Rea at Sewickley, Pa. 
In the house of the Sabin family, at Windsor, Vermont, 


now owned by Mr. G. O. Gridley. 


5. Ina house in Warner, N. H. 

6. In the house of Mrs. H. O. Bixby, Chelsea, Vermont. 

7, In the John Wade house, Colchester, Conn. 

8. In Mrs. Tracy’s house, Georgetown, Mass. 

9. In “Prestwold,” the Skipwith home in Mecklenburg 
County, Va. 

10. In the house of Miss Emily Patterson, Perth Amboy, 
New Jersey. 


11. In sepia, formerly in a house in Staunton, Virginia, now 
removed and in the possession of Mrs. R. H. Catlett. 





VENETIAN SCENES 
In the house of Henry O. Rea, Sewickley, Pa. . 


1 lee eee aeae en 





VENETIAN SCENES 


Panel owned by Elsie Cobb Wilson, 


New York 


ae. 


STITT 
Poe 2 


Be 





VENETIAN SCENES 
Panel owned by Elsie Cobb Wilson, New York 








VENETIAN SCENES 
Panel owned by Elsie Cobb Wilson, New York 





VENETIAN SCENES 
Another part of the paper in the Abraham Wheelwright house, Newburyport, Mass. 


386 HISTORIC WALL—PAPERS 


VUES DE L’AMERIQUE DU NORD (SCENIC AMERICA) 


Printed by Zuber in 1834. The scenes include views of 
New York, West Point, Boston Harbor, Niagara Falls, The 
Natural Bridge in Virginia, and an Indian Dance. One thousand 
six hundred seventy-four blocks were used in printing the paper. 
In colours. 


1. An original set is in the house of Captain Saulter, at 
Portsmouth, N. H., now the Athletic Club. 

2. An original set is in the house of Mrs. Knight, Milford, 
Near 

Modern editions of this paper are now being printed from 


the old blocks. 





SCENIC AMERICA 
Original set in the Captain Saulter house, now the Athletic Club, Portsmouth, N. H. 


388 HISTORIC WALL-—PAPERS 


VUES D’ITALIE 


Popularly known as ‘‘The Bay of Naples Paper,” printed by 
Dufour of Paris between 1815 and 1820. The views are those of 
Tivoli, Amalfi, Vesuvius in eruption, ships, and the Bay of 
Naples. 


1. In the house that formerly belonged to Professor 
E. D. Sanborn, which is now part of Dartmouth College, in 
Hanover, N. H. 

2. In sepia and cream in the house of Mrs. Emma Taylor, 
St. Johnsbury, Vt. 

3. In the house in Hillsboro Bridge, N. H., where Ex-Gov- 
ernor Pierce lived. 

4. Formerly in the Lawrence house in Exeter, N. H., owned 
by the old Exeter Academy, but burned down. 

5. In the house of Mrs. E. B. McGinley, in Dudley, Mass. 

6. In the tavern now occupied as a convent by the Sisters 
of St. Joseph, in South Berwick, Maine. 

7. In the Moffatt-Ladd house owned by the Colonial Dames 
in Portsmouth, N. H. 

8. In the house owned by Mrs. Elizabeth Phelon, at Willow 
Hill, Cherry Valley, N. Y. 

g. In the house of Mr. George Mifflin, Nahant, Mass., put 
on in 1852. In grey with light-blue sky. 

10. In “Long Branch,” the house of Mrs. Hugh Nelson, in 
Clarke Co., Virginia. 

11. In the John L. Gardner house, Greenhill, Brookline, Mass. 

12. In the George Wallingford house, Kennebunk, Maine, 
now owned by William E. Barry. 

13. In the house of Mr. W. H. Emerson, Cambridge, Mass. 

14. In the Nicholas Ward Boylston house, Princeton, Neale 
now owned by Mrs. George. This set was imported by John 
Quincy Adams about 1818. 

15. In the possession of Mrs. R. H. Catlett, Staunton, Wee 





THE BAY OF NAPLES 
In the Villa Pazzi, near Florence, Italy 


390 HISTORIC WALL-—PAPERS 


VUES DE LONDRES (VIEWS OF LONDON) 


Printed by Dufour, Paris, about 1830. 

This paper is almost Chinese in effect, the buildings and the 
bridges of London and the boats on the Thames being printed in 
a flat plane in black and grey, without a background. 


Nineteen strips of the set in the collection of Nancy 


McClelland. 


Se 


aii, 


frerttt eT a 
By T Pury 


nt 





VIEWS OF LONDON 


392 HISTORIC WALL—PAPERS 
VUES DE LYONS (VIEWS OF LYONS) 


Printed by Dufour, Paris, about 1820. In colours. 

Like the “Monuments de Paris,’’ this paper shows the city 
along the quays, the river running through the centre of the 
paper, and the foreground gay with delightful pastoral scenes. 


I. In the house of Mrs. Charles A. Vaughan, at Thetford, 
Vermont, known as ‘‘The Wall-paper House.”’ 

2. Part of a set in the breakiast-room o7 Mrgags Hon 
Webb at Westbury, Long Island. 


SUS 


VIEWS OF LYONS. 


PRINTED BY 





DUFOUR ABOUT 1820 


O24 HISTORIC WALL—PAPERS 


LES FETES GRECQUES (OLYMPIC FETES) 


Printed by Dufour and Leroy in 1824 and designed by Mader 
pére, who engraved the Cupid and Psyche paper in 1814. The 
set consists of twenty strips in grisaille. 

The different episodes depicted are: A Tribute to Homer, 
The Shrine of Vesta, Worshipping Athene in the Court of the 
Erechtheum, Oblation to Bacchus, Procession before the Par- 
thenon. 


1. An original set formerly owned by Mrs. Franklin B. 
Webber 2nd of Boston has recently become the property of Mrs. 
Robert Cushman, 98 Mt. Vernon Street, Boston, Mass. 

2. A complete set is in the Perry house, Keene, N. H., now 
the property of Wallace L. Mason, of the Keene National Bank. 

3. In the house at 32 Green Street, Newburyport, Mass., 
now owned by the Catholic Church. 

4. In the house of Henry K. Willard, Westminster, Vermont. 


BoD 





OLYMPIC FETES: OBLATION TO BACCHUS 
In the Perry house, Keene, N. H. 
(Courtesy of Society for the Preservation of New England Antiquities) 





OLYMPIC FETES. A TRIBUTE TO HOMER 
(Courtesy of Society for the Preservation of New England Antiquities) 


ie 
14. 


SOME FAMOUS SCENIC PAPERS 397 
OTHER PAPERS, NOT YET IDENTIFIED 


. Paper with camels, turbaned people, and Egyptian scenes, 


in house of Mr. H. K. Willard, Westminster, Vermont. 


. Paper with fox-hunting and duck-hunting, in the Carey Cot- 


tage, Nahant, Mass., owned by Mr. Charles P. Curtis. 


. Paper with Greek temples, in the house of Mr. John H. 


Southworth, Dryden, N. Y. 


. Paper in the house of Mrs. Marcia Ransom Abbott, Warren, 


Rhode Island. 


. Paper in the house of Mr. Josiah Cloye, Ashland, Mass. 
. Fragment owned by Mr. H. W. Erving, of Hartford, Conn. 


Possibly a part of Zuber’s War of Independence. 


. Landscape paper in the house of Mr. F. B. Knapp, Dux- 


bury, Mass. Possibly “English Gardens.” 


. Paper in the Wallingford house, Kennebunk, Me. 
. Paper in the house of Mrs. Maria Gozzaldi, New Ipswich, 


New Hampshire. 


. Paper in the summer home of Miss Jean E. Eddy, Boston, 


Mass. 


. Paper in the Wotkyns house, Walpole, N. H. 
_ Franklin at the Court of France, in the Nicholas Ward 


Boylston house, Princeton, N. J., now owned by 


Mrs. George. 
Lallah Rookh paper.at Eyre Hall, Northampton ConiVa. 
Paper belonging to Mrs. W. T. Forbes, Trowbridge Road, 


Worcester, Mass. 


i 





CHAPTER XIll 


TRANSLATION FROM DUFOUR’S BOOKLET ON THE 
CAPTAIN COOK WALL-PAPER, CALLED 
PoAVAGES OF THE PACIFIC OCEAN” 





ww 


26 


SAVAGES OF THE PACIFIC OCEAN 
A WALL-PAPER DECORATION * 


MACON 


From the Press of Moiroux, Rue Franche 


Year XIT] 
(1804-1805) 


* Tllustrations of the complete paper are given on 
pages 367, 368, 369, and 370. 


> 





SAVAGES OF THE PACIFIC OCEAN 


DECORATIVE PICTURE IN WALL-PAPER 
Composed on the discoveries made by Captain Cook, de la 
Perouse and other travellers, forming a landscape in colour, 
executed on twenty strips of paper, each twenty pouces wide by 
ninety centimetres high. 


From the Factory of 
JOSEPH DUFOUR & COMPANY 
MACON 


This decoration has for its object the idea of making the 
public acquainted with peoples and lands discovered by the latest 
voyagers, and of creating, by means of new comparisons, a com- 
munity of taste and enjoyment between those who live in a state 
of civilization and those who are at the outset of the use of their 
native intelligence. 


This kind of composition is difficult and often misunderstood. 
The result is criticised without understanding the cause of the 
necessary lack of perfection. Let us assure you that if the rules 
of art have been outraged, they have not been forgotten. 

A study made of the use to which this continuous picture is 
to be put will show that the two ends must join and form a kind 
of panorama designed to be cut into strips twenty inches wide so 
that they may be used singly or in groups of two, three, four, 
five, six, seven, eight, ten, or twelve strips or more, according to 
the desire of the owner or according to the arrangement of the 
interior which is to be decorated. After recognizing this first 
difficulty, it will be easier to understand the problem that must 
be worked out in order to establish dimensions which will form 
as many complete pictures as there are possible combinations from 
one to twenty, with the desire to make a result as a whole that 


will not produce a shocking effect of confusion and distraction. 
403 


404 HISTORIC WALL-PAPERS 


Try to compose panels of two, three, and more strips, beginning 
with numbers one to six, eight to ten, or with numbers two to 
seven, nine, and eleven; take numbers three to eight, ten, or twelve 
and again numbers sixteen to twenty, including number one and 
joining it to the last or the first strip. The result will be always 
agreeable, and sometimes praiseworthy. After this it is possible 
to give an opinion, with full knowledge, on an undertaking often 
subject to criticism by artists. 


The general scene is laid in the Island of Otahiti; in the dis- 
tance is Chamallis, where the interesting and illustrious life of 
Captain Cook came to an end. This unhappy event took place 
in the Bay of Karakakooa, at Owhyhée, one of the Sandwich 
Islands, which is about forty degrees, or eight hundred leagues, 
distant from Otahiti, although it has the appearance of belonging 
to the same mainland. The same is true of the volcano visible 
in the distance, whose description is taken from that of Tanna, 
one of the New Hebrides Islands, also called Terre du Saint- 
Esprit, seen beyond Quiros, at forty degrees south and thirty 
degrees west of Owhyhée, the scene of the combat, and forty 
degrees south of Otahiti. 


COMPOSITION OF PICTURES 


This is the method which should be followed in order not 
to dissociate parts which belong together and which cannot be 
separated without resulting in confusion. 


PICTURES OF TENSS TRIES 


First Picture of Ten Strips 
This will contain the dance of the Otahiti girls in the presence of the 
king, and is composed of strips I, 2, 3, 4, 5, 6, 7, 8, 9, and Io. 
Second Picture of Ten Strips . 
This arrangement contains the wrestling match in presence of the chiefs 
of the Friendly Islands and those of Saint Christine. It is composed of 
StripSs11; 12, 13, 14515; 10,17, 10s losencd. 20! 4 


Pav Gio OReb In ePACIFIC [OCEAN 405 


PIiGTURPSSOr si Xgo TRIPS 


First Picture of Six Strips 

This will contain the dance of the Otahiti, and the death of Captain 
Cook. It is formed of strips 4, 5, 6, 7, 8, and 9. 
Second Picture of Six Strips 

This will contain the king of the Pelow Islands with the natives of 
Cape Diemen and of the Islands of the Admiralty. Formed of strips 18, 
ryecela2, and 3. 
Third Picture of Six Strips 

This will contain the spectacle of the wrestling match at Tongatabo, 
Friendly Isles. It is composed of strips 12, 13, 14, 15, 16, and 17. 

Strips 10 and 11 are to be used between windows or in other small 
spaces. 


PICTURES OF FIVE STRIPS 


First Picture of Five Strips 

This will contain the death of Captain Cook and is composed of strips 
S0,610, 11,,and 12. 
Second Picture of Five Strips 

The dance of the Otahiti, composed of strips 3, 4, 5, 6, and 7. 
Third Picture of Five Strips 
Containing the king of the Pelow Islands and the natives of Cape 
Diemen; formed of strips 18, 19, 20, I and 2. 
Fourth Picture of Five Strips . 

Containing the spectacle of the wrestling aren at Tongatabo; composed 
of strips 13, 14, 15, 16, and 17. 


Here is an important caution about all such compositions. 
Because of irregular spaces, and because it is impossible to plan 
in advance to meet the variations of rooms, it is the duty of 
the owners of the paper and of the paper-hangers to direct 
the placing of the decoration and to be guided by the three 
kinds of plans which we have indicated, in order not to interrupt 
the historic scenes. 

We must refer our readers: to the Abridged General 
History of Travels by M. de la Harpe for fuller explanation 
of each of the events that are represented, this book being 
handier and easier to obtain than the original narratives of thé 
travellers. 


406 HISTORIC WALL—PAPERS 


SHORT HISTORICAL NOTICE 


The Twenty Subjects forming the Picture of the Savages 
of the Pacific Ocean. 


NUMBER I 
INHABITANTS OF NOooTKA 


Visited in the month of March of the year 1778, forty-nine degrees 
latitude north, two hundred thirty-three longitude east. 


See Volume XXIII of the General History of Travels by M. de la 
Harpe, page 116 and following. 


NUMBER II 


INHABITANTS OF ULIETEA, ONE OF 
THE FRIENDLY ISLANDS 


The natives of Ulietéa resemble in all points those of the other Friendly 
Islands, to which they belong. They have for governor or chief a sort of 
viceroy, who receives his instructions from the King of Tongatabo, sovereign 
of all the Friendly Islands, who is seen in No. XV. This chief, named Oréo, 
received Captain Cook at the time of his visit in 1777 and endeared himself 
to the English. 


See Volume XXI of Abridged History of Travels,’page 210 and following. 


NUMBER III 
INHABITANTS OF HAPPAEE 


The people in this scene are all natives of Happaée, one of the Friendly 
Islands. The three figures back of the two great plum trees (trees of the 
forest with dense foliage and trunks two feet in diameter, which bear large 
plums, a little coarse, but of good flavour) are a man, a woman, and a young 
girl of the island arranging to take part in the feast of the Arreoy, which 
is seen in No. II. 


e -* ° 


The féte given at Hapaée assembled more than 3000 spectators. The 
orchestra was composed of drummers and singers, who marked time by 
clapping their hands. 


See Abridged General History of Travels, Vol. XXII, pages 228-264. 


Say Choa re UL PAGIRIGSOCEAN — 407 


NUMBERS IV, V, and VI 


INHABITANTS OF OTAHITI 


The island of Otahiti, the most beautiful, the most fertile, and the most 
populous of the islands of this group, at twenty-three degrees latitude south, 
and two hundred and ten longitude, east, is chosen as the setting of the 
Savages of the Pacific Ocean. 


O-too, King of Otahiti, is represented in No. VI, on a throne placed at 
the foot of a banana tree between two cocoanut trees. At his right are two 
young women, one of them his daughter, the other his sister. He was about 
thirty years old when Mr. Cook visited him in 1773. Six feet high, hand- 
some and gracious, his skin white, a little pale, and wearing a magnificent 
crown, he is very remarkable. We may think perhaps that his attitude is 
the stupid pose of an idol, but the etiquette of his court decrees that he is 
not to make a movement. He is set down; he is lifted; he is carried; his 
food is put into his mouth. Outside of this, he is allowed to turn his head, 
to open and shut his eyes, and even to speak once in a while, if the effort 
is not too great. 

The dance taking place before the King in the scene here represented 
is called Aéava. It is a kind of dramatic dance, whose time is marked by 
an orchestra composed of flutes, drums, and a chorus of young girls, who 
sing sometimes of the sad events of life, but more often of its pleasures, 
marking time by clapping their hands. The flutes used by the musicians 
are made of bamboo, pierced with six holes, through which they blow with 
one side of their nose, taking care to close the other nostril with the thumb 
of the hand that is nearest the face. 


See Volumes XIX, XX, and XXI of the Abridged General History 
of Travels by M. de la Harpe. 


NUMBER VII 


INHABITANTS OF Tanna, ONE OF THE NEW HEBRIDES, 
VisITED BY CAPTAIN Cook, IN JULY, 1774 


Three islanders of Tanna are included in this scene. One of them appears 
to be appointed as guard to the King of Otahiti and stands erect behind 
him under the banana tree. 

A young girl presents a reed to one of her countrymen, as if to invite 
him to join the orchestra of the King. 

At a distance on the water, we see a double war canoe, formed of two 
pahies of medium size, equipped with rowers, and a deck on which are the 


408 HISTORIC WALL-—PAPERS 


warriors in battle array. The English insisted on giving the name of ‘‘Brit- 

tania’’ to this canoe, which was launched during their stay in Oparée. It is 

ornamented with an English pavilion, which Mr. Cook presented to King 

O-too. On it we see the figure of Eatua, guardian divinity of the second order. 
See Abridged History, Volume XXI, pages 190, 305, and following. 


NUMBERS VIII and IX 


THe INHABITANTS OF THE SANDWicH IsLANDs DeEscRIBED ON THE SECOND 
VoyaGE or Captain Cook In JANuARY, 1779, BETWEEN I99 AND 208 
Decrees East, 18 DeGreEs Latirupe Nortu 


The islander seen in the foreground of No. IX, whom a young Indian is 
inviting to enter a canoe guarded by a slave, is supposed to be the 
chief named Kaneena, who formed a friendship with Captain Cook during 
his second trip to the Sandwich Islands. 


No. IX shows another chief of the Sandwich Islands, occupied in 
watching the battle that is taking place in the background. 

We have endeavoured to give in these two strips the scene of the death 
of Captain Cook in the Island of Owhyhée, February 14, 1779. 

Several warriors, under a weeping birch tree, in the background, make 
ready to depart for the combat; one of them is bidding farewell to a young 
Indian whose attitude expresses the greatest emotion; further off are other 
warriors ready to enter a small canoe. 

The battle in which Captain Cook was killed has been painted entirely 
in the middle distance; it was impossible to bring the design nearer because 
of the proportion of the two frigates, the Resolution and the Discovery, 
which took part in the action. 

This unfortunate murder was occasioned by a misunderstanding. Some 
thefts having been committed and the launch of the Discovery taken by 
the islanders, a native canoe was seized by the crew in retaliation. Captain 
Cook himself believed that it was his duty to inspire the islanders with fear 
without resorting to force of arms. All these preliminary events made the 
affair serious. 

Captain Cook went on shore. He wished to take the King Rereeoboo on 
board his ship, in order to obtain more easily the justice that was due. For 
this reason he went to the village of Howrowa, the residence of the King. 
The King was sleeping. His sons aroused him, assuring him that the Captain 
wished to treat with him fairly. The old King did not need to be importuned, 
and, fully confident of the honesty of the Captain, allowed himself to be con- 
ducted to the shore. Here he was obliged to sit, while the natives, whose 
numbers increased each moment, made known their dissatisfaction and dis- 


SAVAGES OF THE PACIFIC OCEAN $409 


content. The two sons of the King had already taken their places in the 
rowboat that was to take their father to the Resolution; already the aged 
King was making ready to embark, when an old woman called in a loud 
voice to Kanée-Kabarea, the King’s favourite wife, and mother of the two 
princes. She came; weeping, she tried to prevent her husband from entering 
the boat. Two chiefs joined their efforts to those of the Queen. The natives, 
in the meantime, fearing for the safety of their ruler and excited by gunfire 
from the ships, crowded around Captain Cook. The lieutenant of the marines 
gave a command to his troop to disperse the people, who announced their 
firm determination not to allow the royal family to depart. These events 
changed the Captain’s plans, for he wished to avoid bloodshed. The crowd 
became calmer, and the incident would have ended there but for an unfortu- 
nate occurrence. The fire of the frigates, which kept up to ward off the canoes 
of the natives, killed one of the chiefs of the island. This was the signal 
for battle. Fury seized the crowd, and while Captain Cook made a sign to 
his oarsmen to disembark the two princes, an Indian gave him a mortal blow 
in the back. Several marines perished in this action. 

Captain King, Commander of the Discovery, posted in the lookout 
which the English had placed in a potato field, near Morai, was unable to 
come to the aid of his friend. 

Thus died this celebrated navigator, whose memory should be dear to 
all men, because he became the compatriot of every nation in devoting 
himself to the welfare of all. 

We have endeavoured to show the monument of Morai, near which the 
observatory of the English was placed. It is marked by a graphométre 
and a small tent. Behind Morai are the dwellings of the priests, which were 
burned to avenge the death of Captain Cook, although orders were given to 
respect them. 

See Volume XXIII, page 285 and following of the Abridged History of 
Travels. 


NUMBERS X and XI 


INHABITANTS OF NEw ZEALAND. IsLanp DiscovERED BY A DUTCHMAN 
NaMep Tasman. BETWEEN 32 AND 0O DecREES LaTITUDE SOUTH AND 
163 AND 176 LONGITUDE 


When Captain Cook visited these islanders for the third time, in 1777, 
he knew that they had killed and eaten ten men of the ship commanded by 
his countryman, Captain Furneaux, in 1773; however, he did not seek to 
execute a useless vengeance. His good sense told him that it was better to 
show himself a friend than a judge in an affair that could not be considered 
criminal except by comparison with civilized standards. 

The chief who was in command of the savages against the detachment 
of Captain Furneaux was named Kaoora; it was he who killed Mr. Rowe 


A410 HISTORIC WALL-—PAPERS 


in this fight. He was dreaded and hated by his own countrymen. He is here 
represented, seated on a rock, at the foot of two large gris-gris trees that 
cover him with their shade. 


In No. XI is a Zealander woman and her child, and several warriors, 
companions of Kaoora, who are climbing a trail. 
See General History, Volume XXIII, pages 81-141. 


NUMBER XII 


INHABITANTS OF THE STRAITS OF Prince WILLIAM, DIscoOVERED BY CAPTAIN 
Coox, May 12, 1778, In NortH AMERICA 


The inhabitants of the Straits of Prince William, who are represented 
in this scene, closely resemble, in build, colour, manners, and attire, the 
natives of Nootka, whose neighbours they are. 

See Volume XXIII, page 118 and following. 


NUMBER XIII 
THe INHABITANTS OF ANNAAMOKA 


In this picture, at the entrance to a small bay, is a vessel filled with 
islanders of Annaamoka. This island, included among the Friendly Isles, 
was discovered in 1643, by Tasman. Captain Cook visited it for the second 
time in 1777. 


See Volume XXII of the General History of Travels, pages 215 and 227. 
NUMBER XIV : 7 


INHABITANTS OF New CaLeponiA, AN IsLanp VISITED BY CAPTAIN CooK 
IN 1773. Twenty Decrees LaTITuDE SouTH AND ONE 
S1xTy-FouR LONGITUDE 

The inhabitants of New Caledonia depicted in this scene stand at the 
foot of a banana tree, from which the women are picking fruit. They are 
very much like the natives of Tanna, the island to which they are nearest. - 


See Volume XIX of the General History of Travels, page 351 and 
following. 


NUMBERS XV and XVI 


Tue INHABITANTS OF TONGATABO, THE Most ImMporTANT OF THE FRIENDLY 
IsLaNDs, IN TWENTY-ONE DEGREES LaTITUDE SOUTH, 
One E1cuty-Two LoNGITUDE 


Captain Cook, on leaving Happaée, anchored at Tongatabo in June, 
1777, accompanied by his friends, Omai and the Chief Feenou. They were 


SAVAGES OF THE PACIFIC OCEAN AII 


received by Poulaho, king of the island, who gave them a féte which lasted 
several days, during which feasts, dances, and wrestling matches took place 
with great ceremony. 


The King of Tongatabo, who is pictured in this scene under a banana 
tree with one of his favourite wives, is a tall and handsome figure with the 
most dignified, elegant, and war-like costume imaginable. This costume 
however, is merely composed of braided strands of the bark of trees, one 
piece above another, and of feathers arranged according to the taste of the 
savages of his island. The dress of his favourite seems made on the model of 
those which covered the beautiful forms of the goddesses of mythology. It 
is the natural taste of these Indian women that determined the grace of 
this costume. 

In strip No. XVI, in the background of the arena where two groups 
of wrestlers are having a combat, are Féenou, the King of Happaée, and 
Omai, Captain Cook’s guide and interpreter, standing under the tamarinds 
to enjoy the sight. They are accompanied by several women of the dis- 
tinguished class. 


See Volume XXII, pages 265-368, of the General History of Travels. 
NUMBER XVII 


INHABITANTS OF ST. CHRISTINE, THE Most Popu.Lous OF THE 
MaragulisE IsLaAnps 


The two figures shown in this scene, assisting at the féte of the savages 
of Tongatabo, are the King and Queen of the Island of St. Christine. The 
King is called Honoo. The tree at the foot of which they are sitting is a 
great palm tree, surrounded by mimosas. Several persons, both men and 
women of the same tribe, are to be seen at the bottom of the strip under the 
tamarind trees. Their costumes are described in No. XVIII. 


NUMBER XVIII 


Tue INHABITANTS OF THE Marguise Istanps, Nine DEGREES LATITUDE 
SoutH, OnE Hunprep anp Tuirty-EIGHT LoncirupE WEST, DIscOVERED 
py MinpaA IN 1595, AND VISITED BY CAPTAIN COOK IN 1773 


The three islanders in this scene, seated at the foot of a great palm tree, 
are a man and two women from the Marquise Islands. 


See Volume XXI, page 100 and following in General History of Travels. 
In the middle-ground of this scene and in the following one are the 
people of Cape Diemen of New Holland, and those of the Admiralty Islands. 
Some are occupied in fishing, others in making ready the sail of a canoe to 


412 HISTORIC WALL—-PAPERS 


go to sea. Still others are grouped under a grove of cocoanut and plantain 
trees, and some seem to be resting after a meal in one of the great huts built 
by the tribe for public use. 
An islander of the Admiralty Isles is seen seated upon a rock on the 
shore, ready to cast his harpoon at the fish that may pass within his reach. 
This country was visited by M. de la Billardiére in 1791, ’92, 93, and 
’94, while he was searching for M. de la Pérouze by order of the Government. 
See the Memoirs of this traveller. 


NUMBER XIX 
INHABITANTS OF EASTER ISLAND 


Easter Island, situated at twenty-seven degrees latitude, south, one hun- 
dred and nine longitude, west, was discovered by Davis, in 1686. Captain 
Cook made a stop there on his second voyage, in 1773. 


The two people depicted in this scene at the entrance to a small bay, are 
a man and a woman of the island. 


See Volume XXI, page 68 and following. 
NUMBER XX 


INHABITANTS OF THE PELOW IsLANDs, SEVEN DEGREES LATITUDE NORTH AND 
One HunpDRED AND TWENTY-FIVE LONGITUDE 


The inhabitants of these islands, situated in the western part of the 
Pacific Ocean, resemble African negroes, both in their build, their physiog- 
nomy, and their colour. Their dispositions are kind and gentle. Captain 
Wilson, commander of the Antelope, was shipwrecked on one of these 
islands in August, 1783. Through his account of the shipwreck, we learn 
that the King of this small archipelago was a man of excellent qualities 
named Aba-Thule. The English easily obtained from him permission to 
build a boat in order to return to Europe. He never ceased to shower them 
with kindnesses and gifts during the whole of their sojourn in his kingdom. 

In this scene we have tried to represent the build and the stature of the 
King, as well as that of the most beautiful of his wives, who was called Ludeée. 


See the narrative of Captain Wilson. 


CHAPTER XIV 


CONSPECTUS OF BIOGRAPHY OF WALL-PAPER 
DESIGNERS, MANUFACTURERS, AND 
DEALERS, FROM 1500-1840 





CHAPTER XIV 


CONSPECTUS OF BIOGRAPHY OF WALL-PAPER 
DESIGNERS, MANUFACTURERS, AND 
DEALERS, FROM 1500-1840 


EUROPEAN AND AMERICAN 


Arranged in alphabetical order 


I 


EUROPEAN CONSPECTUS 
ADAM 


Manufacturer and stationer. 
Time of Jean Papillon, about 1766. 
Imitated and reproduced some of Papillon’s uncopyrighted papers. 
AUGUSTE ALBERT- 
Dealer, Paris, 21 rue des Colombiers. 
Early eighteenth century. 
JACQUES ALBERT 
Dealer, Paris, 45 rue de Bac. 
First Empire. 
Employed 120 men in his two shops. 
ARMAND 
Represented Odent of Courtalin in Paris. 
Address, rue de Bondy. 
ARTHUR ET ROBERT 
Manufacturers and dealers. 
In 1781 on the Boulevard, on the corner of the rue Louis le Grand. 
Arthur was guillotined during the Revolution. 
Robert then carried on the business alone, and in 1803 was established at 27 rue de la Place 
Vendéme, Paris. 
He was succeeded in 1811 by Guillot at the same address. 
DIDIER AUBERT 
Manufacturer and dealer. 
Rue St. Jacques, Paris. Shop called ‘‘Au Papillon.” 
A pupil of Jean Papillon. He inherited the wall-paper business of his wife’s father. Was 
sued in 1741 by the Widow Langlois, who had purchased the business of Jean Papillon and 
protested that she had sole right to use the name. Aubert, however, won the suit. 


PAUL BALIN 
Manufacturer and dealer, Paris, 1860. 
Greatest mechanical skill was attained under him with paper imitating leather, stuffs, tulle, 
plaids, silk, velvet, etc. 
MELCHIOR BARDIER 
Maker of painted tapestries. 
Place de Noailles, Marseilles. 
1779-1780. 


415 


416 HISTORIC WALL—PAPERS 


BASSET 
Engraver, illuminator, and manufacturer of wall-paper. 
1770-1795. 
His son in 1802 at 670 rue St. Jacques, Paris. 
In 1803 the firm was Dubuisson et Basset. 
WILLIAM BAYLY 
Manufacturer. 
London, England. 
Obtained in 1691 first letters patent to manufacture wall-paper with “several engines of 
brasse.”” 
BELLANGER 
Manufacturer, Paris. 
In a letter of 1815 preserved in the Musée Carnavalet he says: “I have created in Paris 
a house very distinguished for its success in the making of colours as well as for decorated 
paper.” 
BERTHE HAMOIR 
Manufacturer and dealer in rolls of wall-paper. 
Grevenich. Factory at Sorel and Saussay. 
Dépét at 60 rue St. André des Arts, Paris, up to 1824. 
Claimed to be the first factory in France to establish the fabrication of machine-made 
paper unlimited in length. 
Silver medal in 1819. 
Medal at Exposition du Louvre in 1823. 
BERTHELOT 
Manufacturer and dealer, Paris. 
In 1802 copyrighted a printed sign to put on the doors of shops. 
“Tci on s’honore 
du titre 
de citoyen.” 
BIDAULT 
Dealer. 
17 rue de Bussy, Paris, in 1845. 
BLONDEL 
Designer and engraver of wood-blocks for wall-papers. 
A relative and pupil of Vincent le Sueur. 
About 1740-1766. 
BLONDIN 
Engraver of wood-blocks. 
Pupil of Adam. 
Paris, beginning of eighteenth century. 
BOILEAU 
Artist designer for the Eckhardts, London. 
BOISSIERS 
Manufacturer and dealer, Paris. 
Time of the Consulate. 
In 1803 copyrighted four camées called ‘The Four Elements.” 
RICHARD BON 
Manufacturer and dealer. 
322 rue Faubourg du Temple, Paris. 
1800-1804, 


CONSPECTUS OF BIOGRAPHY 417 


BONNOT 
Manufacturer of flock papers. 
In 1823 at 13 rue des Chaudronniers, Faubourg St. Martin, Paris. 
Dépot at 17 rue des Prétres, St. Germain |’Auxerrois, Paris. 
BOUCHER FILS 
Designer for Reveillon, 1752-1789. 
BOULANGER 
Manufacturer. 
Rue St. Benoit, Paris. Eighteenth century. 
BOULARD 
Manufacturer. 
Quay de Gevres, du cété du Pont au Change, Paris. 
1736-1770. 
JEHAN BOURDICHON 
Painter and illuminator of paper. In 1481 was paid 24 francs for painting fifty great scrolls 
of wall-paper for Louis XI. 
BOURIER 
Manufacturer. 
Factory at Besancon. 
First Empire. 
JOHN BRISCOE 
Manufacturer, England. 
In 1685 patented process for making white paper. 
BROCK 
Designer for Dufour and Jacquemart et Bénard. 
Paris, 1800-1870. 
A pupil of Guérain and Costain. 
Designed Paul et Virginie for Dufour, a series of the famous Monuments de Paris, and 
the Vues d’Hereford. 
BUMSTEAD 
English inventor. 
Invented in 1835 a one-colour printing machine, which was improved in 1839 to print four 
colours. 
BUZIN 
Manufacturer, Paris. 
Successor to Delicourt. 


CARLHIAN 
Manufacturer. 
16 rue des Francs Bourgeois, St. Michel, Paris. 
CARRE 
Manufacturer, Paris. 
Principal rival of Jacquemart. 
CARTULAT 
Manufacturer. 
Rue Napoleon, Paris. 
First Empire. Liquidated in 1835. 
Brother-in-law of Simon. 
CARTULAT-SIMON 
Manufacturers and dealers. 
Rue Napoleon, Paris, 1820. 
Son of Simon, associated with his brother-in-law, Cartulat. 


27 


418 HISTORIC WALL—PAPERS 


CHAPILLON 

Manufacturer, Paris. 

Copyrighted papers under the Consulate. (1800-1801.) 
CHAPUY OR CHAPUIS 

Manufacturer. 

2 Place de la Sorbonne. 

Copyrighted papers in 1800. 
A LA CHARITE 

Name of a wall-paper factory in Lyons. 

1766-1799. 
J.C. CHARVET. 

Designer, Macon. 

Designed for Dufour the paper known as ‘‘Sauvages de la Mer Pacifique” in 1803-1804. 
JACQUES CHAUVAU 

Printer and manufacturer of wall-papers, Paris. 

In 1750 printed papers in oil-colours. 

Apprentice to Jean Papillon. 
JACQUES CHEREAU 

Engraver, illuminator, and maker of images. 

Between 1700 and 1795. 

About 1740 perfected the printing of wall-paper in colours from superimposed wood-blocks. 
CHEVENARD 

Manufacturer. 

Lyons. 

On September 30, 1797, patented paper imitating mousseline. 
CHOUARD 

Manufacturer, Lyons. 

Patented paper imitating mousseline in An. VII (1798-1799). 
CIETTI or SIETTI 

Designer. 

An Italian, worked for Reveillon. 

Date, Louis XVI. 
CLER ET MARGERIDON 

Manufacturers and dealers. 

Paris. 

Published the scenic paper called Fétes Louis XIII about the middle of the nineteenth 

century. 

COMBRE 

Manufacturers and dealers. 

Paris under the Consulate. 

Copyrighted architectural paper of columns and cornice in An. X (1801-1802). 
COSTAIN 

Flower-painter for Jacquemart et Bénard, Paris. 

1791-1804. 
CREPY, L’AINE 

Manufacturer. 

Rue St. Apolline, Paris. 

Note in Le Mercure of 1770. 
DAGUET ET CAFFIN 

Manufacturers, Paris. 

First Empire. 

Specialty of satin papers with gold and silver; also imitations of drill. 


CONSPECTUS OF BIOGRAPHY 419 


DAMIENS 
Manufacturer, Paris. 
In 1780 announced: Sieur Damiens, formerly rue Dauphine, in the Hocel de Genlis, has just 
consolidated his factory and his shop in Hétel de la Grenade, 404 rue de Bussy. 
MATTHEW DARLY 
Manufacturer, London. 
“At the Acorn,” facing Hungerford, Strand. 
Early eighteenth century. 
Engraved some of the plates in Chippendale’s Director and made paper-hangings painted 
or printed from copper plates or wood. 
DAUMONT 
Manufacturer, Paris. 
Eighteenth century. 
DAUPTAIN 
Manufacturer, Paris. 
In 1800 on rue Blanche Mibray. 
1811-1823 at 26 rue St. Bernard, Faubourg St. Antoine. 
House became celebrated after 1830. Made scenic papers, borders, camées, satin, and 
flock papers. 
In 1845 passed into the hands of Briére. 
DEFOURCROY or FORCROY 
Dominotier and dealer, rue Jacob St. Germain, Paris. 
Pupil of Adam. 
Beginning of the eighteenth century. 
EDWARD DEIGHTON 
Manufacturer, England. 
In 1753 obtained patent for printing wall-papers from engraved designs and coloured by 
hand. 
DELICOURT 
Manufacturer and dealer, Paris. 
Address in 1822 was 16 rue des Amandiers-Popincourt. Firm composed of Mader and 
Delicourt. 
In 1834 Delicourt associated with him Campnas et Garat. House lasted until 1860. 
Successor, Buzin. 
DELTIL 
A designer for Zuber. 
In 1831 designed Paysage @ Chasse. 
DEMOSTHENE DUGOURE AND ANISSON-DUPERRON 
Manufacturers. 
Had “‘a Republican Factory of Wall-papers,”’ Place de Carrousel, during the Revolution. 
Anisson-Duperron was condemned to the scaffold. 
DESCOUTEAUX 
Manufacturer, Chaumont. 
Time of Papillon. 
DESFOSSE ET KARTH 
Manufacturers and dealers. 
Paris, Faubourg St. Antoine. 
1849 to the present day. 
DESPORTES 
Manufacturer, Paris. 
28 rue du Harlay. 
1803. 


420 HISTORIC WALL—PAPERS 


DESRAIS 
Artist designer for Reveillon. 
1752-1789. 
DIDOT ST. LEGER 
Maker of paper stock, Essdnes. 
In 1799-1800 patented paper of unlimited length. 
In 1803-1804 was at 1353 rue de Vaugirard, Paris. 
DODART 
Manufacturer, Paris. 
25 rue Ferdinand. 
J. J. DOLPHUS 
Manufacturer, Rixheim. 
In 1790 founded the factory of Zuber. 
DU BELLAY 
Wood-engraver, Paris. 
Master of Le Sueur and of Jean Papillon. 
Date, 1680. 
DUBUISSON 
Manufacturer, Paris. 
161 Bvd. St. Martin, in 1803-1804. 
JOSEPH DUFOUR 
Manufacturer, Paris. 
Began in Macon. In 1807 founded house in Paris at 10 rue Beauveau, Faubourg St. Antoine. 
1811 Joseph Dufour et Cie. 
1820-1860 Dufour et Leroy. 
1823 Felix Leroy, successor to his father, 5 rue Neuve Belle Chasse. 
1836 succeeded by J. Lapeyre, Drouard et Cie. 
Dufour was chiefly noted for his drapery papers and for the great series of scenic papers 
brought out by him. 
DUMARCHAIS 
Manufacturer, Paris. 
Copyrighted in 1801-1802 a design with a buffalo and an Indian. 
DUMAS 
Manufacturer, Paris. 
Contemporary of Mader and Delicourt. 
Papers imitating damask. 
DUMONT 
Manufacturer, Paris. 
Between 1750 and 1795. 
DUNBAR 
Manufacturer, 'Aldermanbury, England. 
Eighteenth century. . 
Mentioned in letter of Thomas Hancock’s as having made a paper for Mr. Samuel Waldon 
of Boston. 
JOSEPH DUPRE 
Manufacturer, Place St. Martin, Paris. 
Noted in Guide Marseillaise of 1779-1780. 
DUTOIT 
Manufacturer, Paris. 
Papers with small designs copyrighted in 1800-1801. 


CONSPECTUS OF BIOGRAPHY A421 


DUTOIT ET CIE 

Manufacturers, Paris. 

Copyrighted Directoire designs in 1799-1800. 
LAZARE DUVAUX 

Dealer in wall-paper, Paris. 

1748-1754. 


EBERLE 
Animal-painter for Zuber. 
Nineteenth century. 
ANTONY G. ECCARD 
The Hague. In 1768 invented the art of printing gold and silver on paper-hangings. 


ANTHONY G. and FRANCIS F. ECKHARDT 
Manufacturers, London. 


In 1750 had a shop in Chelsea, where they printed both papers and stuffs with wood-blocks. 
EHRMANN 

Designer for Zuber about 1830. 
EVANS AND FISHER 

Manufacturers. 

Alder Mills, Tanworth, England. 

Commenced the printing of paper by machinery in 1837. 


JEAN BAPTISTE FAY 

Artist designer for Reveillon. 

1775-1789. 
FOUGLET 

Artist designer for the Eckhardts, London. 
J. P. FOURNIER 

Printer and engraver, Paris. 

Shop called “Au Bon Ouvrier,” rue Carré St. Martin. 

In 1760 made attempt to produce rolls of paper by pasting small sheets together. 
FOY 

Manufacturer, Lyons. 

Time of Papillon. 
FRAGONARD FILS 

Designer for Dufour. 
FRESNEAU FRERES 

Manufacturers, Laigle. 

1789. 

Still existed under the first Empire. 
FUCHS 

Designer for Zuber. 

About 1830. 


JAMES GAMBLE 
Englishman. 
Paper-maker and engraver. 
Paris, time of the Revolution. 
Occupied part of the premises of Arthur and Robert. 


Age HISTORIC WALL—PAPERS 


JOHN GAMBLE 

Leicester Square, London. 

Brother of above. 

In 1801 and 1803 purchased from Didot St. Leger the English patent rights to Robert’s 

invention for making endless paper. 

PIERRE GARNIER 

Engraver and printer of wood-blocks. 

Troyes, about 1620. 

His son, Pierre Garnier, was well known as an engraver about 1650. 
GENOUX 

Manufacturer, Paris. 

Contemporary with Delicourt and Mader. 
GILLOU 

Manufacturer, Paris. 

Contemporary with Delicourt and Mader. 
HUGO GOES 

Printer Steengate, England. 

In 1509 printed pattern used for a beam paper in Christ’s College, Cambridge. 
L. Y. GOHIN 

Manufacturer of colours, cards, and wall-papers. 

Shop, 63 Faubourg St. Martin, Paris. 

Factory, 8 rue Neuve St. Jean. 

Early 1800’s. 
GOUPY 

Manufacturer, Paris. 

Colleague of Jean Papillon. 
GRENARD 

Manufacturer and dealer in flock papers. 

Rue Louis le Grand, Paris. 

1770-1789. 
GUERIN 

Artist designer for Jacquemart. 
GUILLOT 

Manufacturer. 

Successor to Arthur et Robert. 

In 1811 at 27 rue de la Place Vendome. 


JOHN GREGORY HANCOCK 

Manufacturer, London. 

In 1796 obtained patent for embossing and chasing paper. 
HARTMANN RISSLER 

Manufacturer, Rixheim, Alsace. 1799-1800. 
HARWOOD 

Manufacturer, London. 

Earlier than Eckhardts or Sherringham. 

Purchased a business which had been for some time established in Chelsea. 
JOHANN HAUTZCH 

Printer, Nuremberg. 

Discovered a brilliant finish for paper. Died in 1670. 

Established the first wall-paper factory in Germany in 1670. 
DEMOISELLE HEMERY 

Dealer in wall-paper. 

Rue Comtesse d’Artois, Paris. 1774. 


CONSPECTUS OF BIOGRAPHY 423 


HERMANN 

Landscape painter for Zuber. Early nineteenth century. 
HONORE 

Manufacturer and dealer in wall-paper. 

Paris, 1803-1804. 

17 Boulevard and Division Poissoniére. 
HUBERT ET DINAN 

Manufacturers and dealers. 

Montparnasse, Paris. 1799-1801. 
JEAN BAPTISTE HUET 

Artist designer for Reveillon and Jacquemart. 
JACQUES GABRIEL HUQUIER 

Engraver, born in Orleans 1695, died Paris, 1772. 

Opened wall-paper factory in Paris in 1766 for making imitation of English flock paper. 
DANIEL HUQUIER 

Son of former. Born in Paris in 1728. 

Associated with his father. 


SNARD 
Manufacturer, Strasbourg. 
Time of Papillon. 


JOHN BAPTIST JACKSON 

Designer and manufacturer, England. 

Born 1701. Apprenticed to the engraver Kirkhall. 

Went to Paris 1726-1731. At first worked for Papillon. 

From 1738-1742 in Venice. Returned to England in 1746 and opened a factory in Battersea. 
Claimed to have invented the application of wood-engraving in chiaroscuro to wall- 
paper. In 1754 published a book on this subject. 

His papers mostly large panels of Venetian or Roman subjects with frames to imitate stucco. 

JACQUEMART ET BENARD 

Manufacturers. Successors to Reveillon 1791-1840. 

Factory, 39 rue de Montreuil. 

Shop, 1 rue de la Paix. 

JOINOT 
Artist designer for the Eckhardts, London. 


ADOLF KEFERSTEIN 
Introduced the first machine to print wall-paper in Germany, in Weida, in the Grand Duchy 
of Weimar in 1816. 
KOECHLIN FRERES 
Manufacturers, Paris. 
1799-1800. 


LABOISSIERE 

Manufacturer, Paris. 1720-1770. 

Invented a paper to imitate natural wood. 
LA BORNE 

Manufacturer, Paris. 

Time of Papillon. 
LOUIS LAFFITTE 

Designer to the King, Louis XVI. 

Grand Prix de Rome 1791. 

Designed Cupid and Psyche paper in 1816. 


424 HISTORIC WALL-—PAPERS 


VINCENT PESANT DE LAIRE 
Manufacturer, Paris. 
Time of Papillon. 
LANCAKE 
Manufacturer, Paris. 
Dépot, rue St. Antoine, opposite rue Geoffrey Lasnier. 


An Englishman. In 1769 obtained permission to open a wall-paper factory at Carriére 
near Paris. 


VEUVE LANGLOIS 
Manufacturer and dealer, Paris. 
Purchased Papillon’s business from Jean Michel in 1740. 
Was succeeded by her son and afterwards by Miyer. 
JEROME LANYER 
Manufacturer, London. 
In 1634 obtained from Charles I the exclusive right to exercise the métier of making flock 
hangings on cloth, linen, and leather. 
LAPEYRE ET DROUART 
Manufacturers: successors to Dufour about 1836. 
LAUGIER ET CORIOLIS 
Manufacturers, Nancy. 
First Empire. 
LE BLOND 
Manufacturer, Paris, 1803-1804. 
2 rue de Bondy. 
LE BRETON, PERE ET FILS 
Manufacturer of marbled papers. 
Time of Papillon, at beginning of the eighteenth century. 
LEBRUN 
Manufacturer and dealer, Paris. 
301 rue St. Martin. 1803-1804. 
R. LECLERC 
Manufacturer and dealer. 
Rue de I’Echiquier, Paris. 1803-1804. 
LECOMTE 
Manufacturer of flock papers done in silk and shaded. 
Lyons, soon after 1760. 
Sieur Lecomte died soon after establishing his factory. In 1769 his widow opened a dépét 
in Paris, rue des Prouvaires, opposite rue des Deux Ecus. 
LEDOUX 
Manufacturer and dealer. 
392 rue de Bussy, Paris. 1803-1804. 
LEFLAGNAIS, PERE ET FILS 
Manufacturers, Caen, First Empire. 
LE FRANCOIS 
Inventor and manufacturer of flock papers, Rouen. 1620. 
LEGENDRE 
Manufacturer, Paris. 
5 rue de la Porte St. Antoine, First Empire. 
LEGRAND, PERE ET FILS 
Manufacturers, Paris. 
In 1800-1801 at 31 rue d’Orleans, Faubourg Marcel, with a shop on the Pont Neuf. 
In 1802, at 59 rue Vielle du Temple. 


CONSPECTUS OF BIOGRAPHY 425 


STANISLAS LEPEYRE 

Manufacturer, Paris. 

Contemporary with Delicourt and Mader. 
LEROUGE 

Manufacturer, Paris. 

Rue du Colombier. 

In 1799-1800 made paper imitating linon-batiste and embroidered mousseline. 
LEROY 

Manufacturer, Paris. 

Successor to Dufour. 
NICHOLAS LE SUEUR 

Wood-engraver, Paris, 1690-1764. 

Next to Papillon, the best French wood-engraver of his time. 
VINCENT LE SUEUR 

Wood-engraver, Paris. 

A pupil of Jean Papillon. Died, 1743. 
LETOURMY 

Manufacturer, Orleans. 

1720-1750. 
MADER PERE 

Designer and manufacturer. Made for Dufour the cartoons for the wood-blocks for Cupid 

and Psyche paper from drawings of Laffitte in 1816. 

Designed and executed “‘Les Fétes Olympiques” for Dufour in 1824. 

With Delicourt opened his own shop in 1821. 
MADER FRERES 

Manufacturers, Paris. 

Sons of Mader pére, who succeeded him. 

1 rue de Montreuil. 
MAGNIER, CLERC ET MARGERIDON 

Manufacturers, Paris. 

30 and 32 rue Basfroid. 
JOSEPH LAURENT MALAINE 

Flower-painter and designer. 

Son of Flemish painter. Was attached to the royal manufactory of the Gobelins in quality 

of designer, 

Fled to Alsace in 1793 and took refuge with Zuber, for whom he made numerous designs. 
MANSFIELD or MASEFIELD 

Manufacturer, London, in the Strand. 

Contemporary with John Baptist Jackson. 
MARGUERIE 

Manufacturer, Paris. 

Rue du Vieux Colombier. 

On December 21, 1802, patented wall-paper imitating satin and silver. 
MARTIN 

Designer for Dauptain fils, Paris. 

Made Arab motifs and compositions inspired by Chenavard. 
MASSENER ET LAPEYRE 

Manufacturers, Paris. 

10 rue Lenoir, St. Antoine, 1845. 
MASSON 

Painter and engraver of wood-blocks for papiers de tapisserte. 

Time of Papillon. 


426 HISTORIC WALL-—PAPERS 


MILLET 
Manufacturer, Paris, 1799-1800. 
MIYER 

Engraver and manufacturer, Paris. 

Successor to Masson. 

Papillon says that he engraved the blocks for all his papers. 

MOGNAT-PERRIN ET WERY 

Manufacturers, Vienne, First Empire. 

MONCHABLON 
Manufacturer, Paris. 
Place de l’Estrapade. 
Papers of his are known in Pompeian style between 1799 and 1803. 
A. P. MONGIN 

Designer, Alsace. 

In 1803 designed the “‘ Vues de Suisse’? for Zuber. 
MORISOT AINE 

Manufacturer, Paris. 

1 and 3 Petite rue de Reuilly. 

Made printed papers and flock papers in 1824. 

SIEUR MOSRAR 

Manufacturer, Caen, last half of the eighteenth century. 

Noted in Journal de Caen of 1788 for varnishing wall-paper with an unchanging varnish, 
which not only gives brilliancy but protects the most tender colours, keeps out dampness, 
fly-spots, and smoke. 

MOUTRILLE 
Manufacturer, Besancon, 1787-1800. 
Rue Vivienne, Paris, in 1830. 
MULLER 
Designer, Paris. 
In 1855 designed ‘‘La Jeunesse” for Delicourt. 


NEWTON 
A civil engineer of London who invented and perfected methods of making wall-paper 
in 1830. 
Representative in Paris was Albert, 28 rue Neuve St. Augustin. 
NIODOT 


~ Manufacturer, Paris. 
In 1769 in Place du Vieux Louvre. 
Shop called “du Chant de I Alouette’ (The Song of the Lark). 
JOHANN ANDREAS BENJAMIN NOTHNAGEL 
Manufacturer, Frankfort-on-the-Main. 
Established his factory in 1757. 


ODENT 
Fabricant of paper, Courtalin. 
Patented machines to press and dry paper as workmen took it from the vats, May 22, 1828. 
PANSERON 
Wood-engraver, Paris. 
Pupil of Vincent Le Sueur. 
JEAN PAPILLON 
Engraver and manufacturer. 
Born in St. Quentin in 1661, died Paris, February 3, 1723. 
Invented first continuous designs in wall-paper, about 1688. 
Shop called “4u Papillon.” 


GONSPEGTUS OF BIOGRAPHY 427 


JEAN MICHEL PAPILLON 
Engraver and manufacturer, son of the former, born 1698. 
Successor to his father. 
In 1740 sold the business to the Widow Langlois. 
Published ‘‘ Traité Historique et Pratique sur la Gravure en Bois” in 1766. 
PAULOT ET CIE 
Manufacturers, Paris, First Empire. 
3 Petite rue de Reuilly. 
PAUQUET 
Manufacturer, Paris, 1799-1800. 
PEPIN 
Manufacturer, Paris. 
1 rue Frangaise, 1803-1804. 
ALPHONSE PERIBAUT 
Manufacturer, Paris. 
46 rue Ste. Anne, 1845. 
PITT 
Manufacturer, Paris. 
In 1799-1800 made papers that are in the Bibliothéque Nationale. 
In 1803-1804 was at 144 rue Mouffetard. 
PIERRE PIGNET 
Engraver of wood-blocks Paris, about 1710. 
M. N. B. DE POILLY 
Engraver, Paris. 
In 1735 made copper plates for flock papers. 
MARTIN POLISCH 
Designer for Dauptain fils. 
Made imitations of Huet. 
POTERLET 
Designer, Paris, for Dauptain fils. 
POULAIN 
Manufacturer, Paris, in 1803-1804. 
6 rue Grenier-sur-l’eau. 
PRIEUR 
Artist designer, Paris, for Reveillon. 
SIEUR PRUDHOMME 
Dealer, Paris, 1753-1758. 
Rue des Lombards, vis-a-vis rue des Cing Diamants. 
RABEE 
Manufacturer, Paris. 
Has papers dated 1799-1800 in the Bibliothéque Nationale. 
RABIER-BOULARD 
Manufacturer, Orleans. 
Contemporary with Letourmy, around 1760. 
J. B. REVEILLON 
Master fabricant, Paris. 
First shop was in the rue de I’Arbre, Sec. 1752. In 1765 established himself in the old Folie 
Titon, and printed the finest series of paper decorations in panels ever published. 
Factory wrecked by the mob in 1789. 
RICARD 
Manufacturer, Paris, rue St. Nicoise 505. 
In 1803-1804. 


428 HISTORIC WALL—PAPERS 


MARTIN RIESTER 
Designer, Paris, for Mader and Delicourt. 
ROBERT 
Manufacturer, Paris. 
Originally an English merchant in Paris. Set up wall-paper business with Arthur on the 
Boulevard, corner of rue Louis le Grand. 
When Arthur was guillotined, carried on the business alone. 
In 1803-1804 at 27 rue de la Place Vendome. 
NICHOLAS LOUIS ROBERT 
Inventor. In the factory of Didot St. Leger, at Essdnes. 
On January 18, 1799, patented machine to make paper of continuous length. 
ROCHE 
Manufacturer, Lyons. Early eighteenth century. 
ROUMIER 
Engraver on wood. Paris, 1727. 
Made large blocks of flowers and ornaments. 
JOHN ROWE 
Manufacturer, London. 
Eighteenth century. 
RUGENDAS 
Designer, Alsace. 
Made designs for scenic papers: Zuber’s ‘“‘ Paysages de Brésil” in 1830. 
NICHOLAS CARON RUSSACHER 
Manufacturer, Paris. 
Early eighteenth century. 


J. L. SAUCE 
Manufacturer, Paris, 1834. 
I rue de l’Université Au Gros Caillou. 
Specialty of papers of medium quality advertised as remarkable for good taste in their 
design and harmony of colour. 
SAVAGE 
Manufacturer, Rheims. Early eighteenth century. 
HERMANN SCHINKEL 
Printer, Holland. 
Made wall-paper in 1568. 
SCHOPPLER AND HARTMANN 
Printers, Augsburg. 
Introduced the printing of papers in rainbow colours by machinery in 1823. 
SCOTIN 
Manufacturer, Paris. 
Between 1700 and 1795. 
SEVESTRE 
Manufacturer, Paris. 
Contemporary with Mader and Delicourt. 
SHERRINGHAM 
Manufacturer, London. 
Great Marlborough Street. 
Contemporary with Eckhardts. Called the Wedgwood of paper-stainers. 
La Briére, Boileau, Louis, and Rossetti made designs for him. 


CONSERG@ TUS Or BIOGRARELY 429 


SIMON 
Manufacturer, Paris, from 1783 on. 
Jardin et Eclos des ci-devant Capucines ou Jardin d’Apollo. 
About 1820 Simon left business to his son established at 23 Boulevard des Italiens. He in 
turn combined with his brother-in-law Cartulat. 
SIMON FILS 
Manufacturer and dealer, Paris. 
In 1834 at 29 Boulevard des Italiens. 
Made paper for the decoration of theatres, decorated some of the rooms in Versailles and 
the Hotel de Ville. 
SOURY LE CHEVALLIER 
Manufacturer, rue Beauvoisine, Rouen. 
In existence in 1799-1800. 
SPORLIN 
Manufacturer, Vienna. 
Invented rainbow papers, nineteenth century. 


VEUVE TISSOT 
Manufacturer, Besancon. 
Early eighteenth century. 
GEORGE TOMLYN 
Inventor, England. 
In 1662 patented process for printing on vellum and parchment with rolling printing- 
press and engraved plates. 
TRIPOT 
Inventor, Paris. 
19 rue des Billettes. 
Patented machine to glaze paper, June 30, 1833. 
WILLIAM TROUTBECK 
Liverpool, claimed to be first to print paper-hangings by a calico-printing machine, in 1838. 
VASSEAU 
Engraver and printer of papers, Paris, about 1750. 
VAUTRAIN 
Manufacturer, Nancy and Epinal, about 1750. 
JOURDAN VILLARS ET CIE 
Manufacturers, Paris. 
Published the scenic paper called the Battle of Austerlitz in 1806. 
THOMAS VINCENT 
Manufacturer, London. 
Fleet Street, the Strand. 
Eighteenth century. 


WAGNER 
Artist designer for Mader and Delicourt. 
THE BLUE PAPER WAREHOUSE 
Aldermanbury, London. 
Advertised in the Postman in 1702. 
WATIN 
Gilder and seller of paper, rue Ste. Apolline, Paris, about 1770. 
WINDSOR, PERE, FILS ET CIE 
Manufacturers, Paris. 
Windsor was an Englishman, established at the corner of the rues des Petit Vaugirard 
et de Bagneux in 1779-1790. 
He invited customers to come to see his apartment, which he had papered. 


430 HISTORIC WALL—PAPERS 


ZIPELIUS 
Artist designer for Zuber in 1830. 
JEAN ZUBER 
Manufacturer in Alsace. 
The factory came into Zuber’s control in 1797. 
Agent in Paris, the Widow Puzenat, 16 rue de Reuilly. 


II 


AMERICAN CONSPECTUS 
C. ALDER 
Importer, upholsterer, and paper-nanger. 
Warehouse, 119 South 3rd Street, Philadelphia. 
Advertisement in Pennsylvania Packet February 14, 1795. 
JONATHAN AND JOHN AMORY 


Dealers in wall-paper, Boston, 1760. 


SAMUEL BANGE 
Federal Gazette, August 27, 1789. 
THOMAS BEDWELL 
Dealer in paper-hangings, Philadelphia, 1779. 
JAMES BERKMAN, JR. 
240 Queen Street, New York, 1790. 
JOHN BIRCH 
Importer from London. 
68 Maiden Lane, New York, 1790. 
JOSHUA BLANCHARD 
Importer of wall-paper. 
Shop in Dock Place, Boston. 
1762-1763. 
EDWARD BORIKEN 
Manufacturer, Boston, 1810. 
JOHN BRIGHT 
Manufacturer, Boston. 
Paper-staining factory, 39 Cornhill, near the Market. 
CALEB BUGLASS 
Bookbinder and stationer. 
Philadelphia. 
Advertises in Pennsyloania Packet, February 19, 1784. 
JOSIAH BUMSTEAD 
Manufacturer, Boston, 1800. 
BURRILL AND EDWARD CARNES 
Manufacturers and importers. 
In 2nd Street, Philadelphia, between Christian and Walnut, 1790-1796. 


ANTHONY CHARDON 
Manufacturer of paper-hangings and printed linens. 
8th between Chestnut and Walnut, Philadelphia. 
Successor to Burrill and Edward Carnes. 
EBENEZER CLOUGH 
Manufacturer, Boston. 
In 1795 began The Boston Paper-Staining Manufactory on the north side of Prince Street 
near the Charles River Bridge. 
Designed and printed the Washington Memorial paper in 1800. 


CONS EE G@HUSZOR THIOGRAPILY 431 


HANNAH DAVIS 

Manufacturer of wall-paper bandboxes, Jaffrey, N. H. 
THOMAS DAY, JR. 

Manufacturer of paper bandboxes. 

369 Pearl Street, New York. 
ANN DICKINSON 

Manufacturer. 

Successor to her husband, Joseph Dickinson. 

Vine Street, between 2nd and 3rd, Philadelphia. 
JOSEPH DICKINSON 

Manufacturer, corner of Vine and Third Streets, Philadelphia, 1784-1788. 


SEVERIN ERICKSON 
Importer of paper-hangings. 
Water Street above Walnut Street, Philadelphia. 
1784. 
FARGES AND CO. 
Importers, Philadelphia. 
Store in 2nd Street, five doors below Friends’ Meeting House, on the west side. 
1784. 
PLUNKET FLEESON 
Manufacturer, Philadelphia, 1739-1783. 
Shop called “At the Sign of the Easy Chair,” Chestnut Street. 
SAMUEL FLETCHER 
Importer and dealer, Boston. 
Shop near the Drawbridge. 
In 1767 advertised beautiful copper-plate furniture for rooms. 


WILLIAM GOOCH 

At sign of Admiral Vernon, King Street, Boston. 

Paper-hangings advertised in 1774. 
FRANCIS GREEN 

Bookseller and stationer. 

King Street, Boston. 

Advertised paper-hangings in 1771. 
THOMAS HANCOCK 

Importer and dealer. 

Son-in-law of Daniel Henchman. 

4 Merchants’ Row, Boston. 

Advertised paper-hangings in 1748. 
GEORGE HAUGHTON 

Upholsterer from London. 

Importer and paper-hanger, 1775. 
DANIEL HENCHMAN 

Bookseller and stationer, Boston. 

Successor to Michael Perry. 

1712-1714 recorded sales of painted paper in quires. 
JOSEPH HOVEY 

Paper-stainer and linen printer. 


In 1786 factory in Essex Street, Boston. 
In 1788 factory in Winter Street and shop at 74 Cornhill Street. Business continued until 


1794. 


432 HISTORIC WALL—PAPERS 


JOHN HOWELL 
Manufacturer, Albany, N. Y. 1790. 
Moved from there to Baltimore and then to Philadelphia. 
Original factory in Albany carried on by Lemuel Steel. 
THOMAS HURLEY 
Paper-hanger. 
3rd Street, twelve doors below Race Street, Philadelphia. 1786-1793. 


GEORGE KILLCUP, JR. 
Boston. 
In 1768 advertised skill in papering rooms. 


LA BRIERE 
Manufacturer. 
26 rue St. Bernard, Paris. 
Successor to Dauptain. 
SAMUEL LAW AND CO. 
Manufacturers of paper-hangings, 21 The Green Park, corner of Black-Horse Alley, 2nd 
Street, South, Philadelphia. 1790. 
THOMAS LAWRENCE 
Paper-hanger and upholsterer. 
2nd Street, near English Church, Philadelphia. 
1763. 
LE COLLAY AND CHARDON 
Manufacturers, Philadelphia. 
Firm of two Frenchmen, 1797. 
Successors to Burrill and Edward Carnes. 
THOMAS LEE 
Dealer, Boston, Gothic paper-hangings 1764-1765. 


MACKAY AND DIXEY 
Manufacturers of colours and paper-hangings. 
Springfield, East Jersey, 1790. 
JOHN MASON 
Importer, upholsterer, and paper-hanger. 
Worked for two-pence per yard. 
1767-1780. 
Colfreith’s Alley, between Arch and Race Streets, three doors above Frent. 
MILLS AND WEBB 
Manufacturers, Hartford, Conn. 
Paper-staining factory opened in June, 1793. 
WILLIAM MOONEY 
Importer and dealer. 
23 Nassau Street, New York, 1790. 


THOMAS NEWELL 
Upholsterer and paper-hanger. 
Philadelphia, 1779. 

JOHN NEWMAN 
Upholsterer and paper-hanger. 
Philadelphia, 1779. 

PAPER MILLS AT SPRINGFIELD 
1796. 


CONSPECTUS OF BIOGRAPHY 7a) 


JOHN PARKER 
Dealer in paper-hangings. 
Roll paper for rooms. 
At head of Town Dock, Boston, 1736. 
JERATHMEEL PEIRCE 
Dealer in paper-hangings. 
Near North Bridge, Salem. 
Elegant India paper-hangings of the newest fashion. 
1781. 
MICHAEL PERRY 
Bookseller and stationer. 
Boston. Died in 1700. 
Found in his store seven quires of painted paper and three reams of painted paper. 
JOHN PHILLIPS 
Bookseller, Boston. 
1730 advertised ‘stamped paper in rolls for to paper rooms.” 
WILLIAM POYNTELL 
Stationer and paper-hanger. 
2nd Street, three doors below Market Street, Philadelphia. 
1783-1797. 
PRENTIS & MAY 
Manufacturers, Boston. 
43 Marlborough Street. 
In 1790 were producing paper-hangings “equal to any made on the continent.” 
In 1791 William May established factory at Green’s Wharf. Appleton Prentis had a shop in 
Milk Street below the Old South Meeting House. 
JAMES REYNOLDS 
Carver and gilder. 
Advertised paper-hangings in 1769. 
Between Walnut and Chestnut on Front Street, Philadelphia. 
D. SAMUEL ROBINSON 
Dealer, Boston. 
1734-1741 bought and sold painted paper in quires. 
In 1742, rolls. 
JOHN AND NICHOLAS I. ROOSEVELT 
33 and 41 Maiden Lane, New York. 
Importers, 1709. 
JOHN RUGAR 
Manufacturer, Bayard Street, New York. 
In 1765 announces paper-hangings made in this province. 
EDWARD RYVES 
Paper-hanger from Dublin. 
1784 in Philadelphia. 
RYVES AND ASHMEAD 
Manufacturers. 
3rd and Spruce Streets, Philadelphia, 1783. 
H. RYVES, J. ASHMEAD, AND W. POYNTELL 
Manufacturers, 1787. 
RYVES AND FLETCHER 
New American manufacturers and paper-stainers. 
Pine Street, Philadelphia. 1775. 
28 


434 HISTORIC WALL-PAPERS 


JOHN SHIELDS 
Dealer. 
Corner of 2nd and Chestnut Streets, Philadelphia. 1781. 
ASA SMITH 
Manufacturer, Baltimore, Md. 
1800-1810. 
JOHN SPARHAWK 
Bookseller and stationer, 2nd Street, five doors below the Friends’ Meeting House. 
Philadelphia. 
In 1773 advertises paper-hangings. 


WILLIAM TRICKET 
Dealer. 
Opposite Black-Horse Alley, Front Street, Philadelphia. 1774. 


FRANCIS WADE 
Importer, Philadelphia. 
South side of Chestnut, below Water. 
1784. 
THOMAS S. WEBB 
Manufacturer, State Street, Albany. 
Two doors from the Dock. 1795. 
Charges 2/6 to 20/ a roll. 
JOHN WEBSTER 
Upholsterer from London. 
Paper-hangings, 1767. 
Corner shop facing the Coffee House, Arch Street, Philadelphia. 
JOHN WELSH 
Manufacturer and dealer, Boston, Mass. 
Shop corner of Bromfield’s Lane. 
Paper-staining factory in Scott’s Court, 1786-1789. 
Business carried on by Moses Grant, 6 Union Street. 
BLANCH WHITE 
Ironmonger, upholsterer, and paper-hanger. 
Philadelphia, 1760. 
JAMES WHITE 
Upholsterer, undertaker, importer and hanger of paper. 
Philadelphia, 1754. 
WHITE & LAWRENCE 
Upholsterers from London. 
At the “Crown and Cushion,” Front Street, Philadelphia. 
1756. 


CHAPTER XV 


WALL-PAPERS ISSUED BY SOME OF THE FRENCH 
FABRICANTS OF THE EIGHTEENTH AND 
NINETEENTH CENTURIES 





CHAPTER XV 


WALL-PAPERS ISSUED BY SOME OF THE FRENCH 
FABRICANTS OF THE EIGHTEENTH AND 
NINETEENTH CENTURIES 


ARTHUR et ROBERT 
1. 1786. Printed a series of mythological panels. 
Apollo Pursuing Daphne (after Van Loo). 
Pygmalion and his Statue. 
Orpheus Charming the Beasts. 
Offering to Pan. 
Sacrifice of Iphigenia (after Charles Delafosse). 

The designs of the demi-lunes over these panels are composed of the 
four seasons and four Amours by Boucher. In the Musée des Arts 
Decoratifs, Paris. 

2. Scenes from the life of Achilles. 
Achilles Dipped in the Waters of the Styx, by Thetis. 
The Education of Achilles. 
Achilles Discovered by Ulysses. 
3. The Muses, sculpture, etc., engraved by Ridé and printed under 
Louis XVI. Collection Follot. 
4. The Muse Calliope, edited in 1780. Collection Follot. 
5. Overdoors, landscapes after Hubert-Robert, printed about 1786. 
Collection Charles Huard. 
6. Centaurs, decorative motifs, 1788. Collection Follot. 
. 1792. The Genius of Sculpture. Collection Follot. 
. Butterflies and garlands of flowers, 1795, decorative panel. Col- 
lection Follot. 
g. Scenic panels, Metropolitan Museum. 


CLER et MARGERIDON 
Fétes Louis XIII (scenic paper), middle of nineteenth century. 


DAUPTAIN 

1. 1818. A funeral paper with skull and cross-bones in black and white. 

Collection Follot. 

2. 1824. Flowers and gilt stars. Collection Follot. 

3. 1825. Decoration with medallion, neo-classic style. 

4. 1828. Panel: scene from Les Précieuses Ridicules. Collection Follot. 
DELICOURT 

Papers in Collection Follot. 
1. 1838. Fragment of a Louis XV decoration, printed on white marble. 
437 


co NI] 


10. 


HISTORIC WALL-PAPERS 


1845. Tithes. A picture. 
1845. Rebecca and the Templar. 
1845. Panel—Allegorical figures. 


. 1848. The Faithful Guardian, picture. 


The Hunt, after Desportes, painted by Duruy, 1851 (scenic paper). 


. 1851. The Resurrection, after Galland, painted by Polich. 
. 1855. Youth, after Charles Miller, a large panel painted by Dusauce. 
. Les Sciences. 


L’ Elysée. 


DESFOSSE et KARTH 


22. 
23. 
24. 
an, 
26. 


. Hothouse decoration designed by Muller. 
. Greek decoration. 

. Decor Louis XIV. 

. Décor Regence. 

. 1855. Jardin d’ Armide. 

. 1850-1865. Reve de Bonheur. 

. Les Arts Réunis. Metropolitan Museum. 
. Decoration, pastoral (8 motifs). 

. Decoration, Wagner. 

. Decoration, Amour, after Boucher. 

. Le Prodigue, after painting by Thomas Couture, 1855. 
. Decoration, Trianon. 

. 1855. Décor, Loge de Raphael. 

. The Four Seasons. 

. Galerie de Flore. 

. Apotheosis of the Flowers. 

. Chasse sous Louis XIII. 

. Paysages Pittoresques. 

. Galerie Poétique. 

. America’s Heroes, Washington, Franklin, Lafayette, and Jefferson. 
. Teniers Tapestry, 1868. 


Boucher Tapestry, 1883. 

Brazil, a decoration of flowers and birds, by Muller. 
Picture after Klesinger, 1854. 

1860. Panorama Chinois, last printed in 1913. 
Eden, designed by Fuch. : 


JOSEPH DUFOUR 


ile 


2 
ey 
4. 


1804. The Butterfly Hunt, overdoor by Laffitte. 

1808. The Twelve Months, by Fragonard fils. 

1808. Pleated hanging, copy of a material of the time. 
1808, Curtains, a wall-hanging. 


26. 


a7: 
28. 
20: 
30. 
21. 
22. 


FRENCH WALL-—PAPERS 439 


. 1810. Mercury entrusting the infant Bacchus to the Nymph Nysa, 


grisaille. 


. 1812. Velvet curtains (flock). 
frets. Capital. 
. 1816. Decoration, Cupid and Psyche, in grisaille, the finest scenic 


paper. 


. 1818. Garland of flowers, overdoor. 
. 1820. Paul and Virginia, scenic paper designed by Brock. 
. 1824. Decoration, “Olympic Fétes,” designed by Mader pére, in 


grisaille. 


. 1820. Basket of fruit, a panel. 
. 1825. The Miracle of the Loaves and Fishes, designed by Fragonard 


fils. 


. 1825. Saint Theresa. 
. 1825. Mosaic decoration of lemon-wood on palissandre, first imi- 


tation of wood done by hand-blocks. 


. 1814. Scenic paper, Galérie Mythologique. 

. Chasse sous Louis XIII, scenic paper. 

. Paysages Turcs, 12 strips, scenic paper. 

. Paysage Indien, 20 strips in colour, scenic paper. 

. Voyages d’Antenor, 25 strips in colour, scenic paper. 

. Vues d’Italie (Bay of Naples), scenic paper. 

. Sauvages de la Mer Pacifique (Captain Cook wall-paper). 1804-1805. 


Scenic paper, 20 rolls in colour. 


. The Toilet of Venus, composition for a ceiling, 1814. 5 strips in 


colour. 


. Les Portiques d’ Athénes, 16 subjects. 
. 1814. Les Campagnes Francaises en Italie, 30 strips of grisaille 


(scenic paper). 

Les Rives du Bosphore (Banks of the Bosphorus), about 1816, 25 
strips. 

Paysages Pittoresques, 30 strips in colour. 

Le Panorama Chinois, 20 strips in colour. 

1825. Telemachus in the Island of Calypso, 25 strips in colour. 

1814. Les Francais en Egypte. 

1815. Monuments de Paris, scenic paper in colour, 30 strips. 

Le Petit Décor. 


HARTMAN RISSLER of RIXHEIM 


T. 
2 
3. 
4. 


Portrait of Bonaparte to put in all the City Halls. 
Bust of Homer. 

Bust of Franklin. 

Bust of Rousseau. 


4.40 


HISTORIC WALL—PAPERS 


5. Papers commemorating the Egyptian campaign in the form of small 
decorative overdoors, etc., in Bibliothéque Nationale. 


JACQUEMART et BENARD 
The God Pan, panel printed about 1796. 


V¥ 
71790; 
TA17 06; 
71790. 
1797- 
1797- 
1798. 


WANES p 


Diane, decoration by Huet. 

Decoration by Prieur, medallion and masks. 
Sacrifice to Paganism (2 overdoors). 
Vendanges, decoration by Prieur. . 

Décor Chinois, by Huet. 

Decorative motifs. 


The Rights of Man. 
Love Crowned. 
Meditation. 


. 1800. 
. 1800. 
. 1808. 
. 1814. 
. 1815. 
. 1818. 
1520, 
. 1820. 
. 1820. 
eto 20s 
WeEO2Ee 


Swans, a panel. 

Vase and crown, panel. 

Drapery, flock. 

Griffons, frieze. 

Flowers and fruits. 

Dogs and ornaments. 

Garlands and sheaths. 

The arms of Louis XVIII, printed on King’s blue. 

Design with squirrel. 

Frieze with royal initial printed for the coronation of Charles X. 
Panel ornamented with gold spangles for the first president 


of the Court of Orleans. 


eLO25: 
el 30: 
mer oz: 
. 1790. 
1793. 
- 1793- 
- 1794. 
. 1795. 
. 1795. 
1795: 
- 1795- 
- 1795. 
- 1795. 
- 1795. 


7 1703. 
2 1S02, 


Le Parc Frangats, scenic paper. 

Neo-grec panel. 

Torches and gilt quivers, panel after Prieur. 
May and the Birds, after Prieur. 

Paper with cockade, fasces, and Phrygian bonnet. 
Garlands printed and painted. 

Negroes féting Liberty. 

Heads of wheats and arrows. | 

Triumph of the Law with pyramids and palms. 
Decoration, bas-relief, dogs and rabbits. 
Hoche and Barras in medallions. 

Altar of Liberty, by Huet. 

Lozenges of flowers and dogs. 

Pompeian design. 

Ceres. 

Bonaparte crowned. 


FRENCH WALL-—PAPERS 


JOURDAN VILLARS et CIE 
Battle of Austerlitz, a scenic paper shown at the Exposition of 1806. 
LAPEYRE et DROUART 


4. 1842. Le Meunier, his son and donkey, camée. 
5. 1845. Panel after Martin: hunt and pheasants. 
LEROY 
(Son-in-law and successor to Dufour.) 
I. 1828. Views of Rouen (scenic paper). 
2. 1830. The Public Scribe. 
3. 1827. Cupids and doves, fireboard. 
4. 1828. Renaud and Armide (scenic paper). 
5. 1828. View of Hereford. 
6. 1829. The White Goat, camée. 
Faioge. Lrato. 
8. 1832. Les Incas, scenic paper. 
g. 1833. Wreaths and leaves. Flock paper. 
1o. Panel after Polisch. 
I1. 1850-55. Scotch plaid papers, engraved. 
12. 1867. Gobelin tapestry, panel. 
13. 1873. Children with fruits printed by machine. 
14. 1878. Centre motif, with figures, a Louis XVI decoration. 
by machine. 
I5. 1878. Large damask pattern printed by machine. 
MADER pere 
1. 1825. Medallion and musical instruments, panel. 


(Successors to Leroy in 1840.) 
1840. Views of Italy, large scenic decoration. 


. 1840. The Broken Bridge, overdoor. 
. Decoration of curtains with side panels. 


Exposition of 1844. 


2. 1825. Tripod and trophies of glory. 
3. 1825. Ceres and Winter, allegorical figures. 
4. 1828. Cornice. 
5. 1828. Rosette for a ceiling. 
REVEILLON 
I. 1772-75. Imitations of India prints and pottery. 
2. 1772. Flowers and ribbons, a flock design. 
3. 1775-80. Indiennes, flock. 
4. 1781. Medallion and laurel, silver white on blue. 
5. 1778. Ribbons and flowers. 
6. 1784. Flock damask. 


441 


Printed 


HISTORIC WALL-—PAPERS 


. 1781. Draperies and vases of flowers. 

. 1785. Caryatids and motifs in the style of Berain. 

. 1785. Drapery and horns of plenty, panel designed by Cietti. 
, 1785 pne liunt;-perse: 

. 1786. Lions and dolphins, panel after J. B. Fay. 

. 1786. Medallions, draperies, and cupids, designed by Cietti. 

. 1786. The Caduceus and Termes, panel of a decoration by Cietti. 
. 1786-89. Grisailles, borders. 

. 1787. Mercury and the Sun, designed by Paget. 

. 1788. Masks and Apes, after J. B. Fay. 

. 1788. Tripods and portico of roses, after J. B. Fay. 

. 1789. Birds and lilies, Reveillon’s last damask paper in blue 


and white. 


. 1788. Panels in Pompeian style painted by Lavallée-Poussin. 
. Decorative panels. The Five Senses. 
. The Grotto, with dogs and stags and nymphs. 


ZUBER et CIE 

1802-1803. Paper with medallions of South Sea Islanders surrounded 
by wreath of coral and shells. 

1804. Basket of flowers painted by Malaine. 

1804. Landscape paper, Vues de Suisse, painted by Mongin. 

1810. Basket of flowers by Malaine. 

1810-11. Bands of flowers. 

1810. Damask and borders. 

1815. Vase with parrot painted by Malaine. 

1825. Paysage des Lointains, grisaille, 6 strips, 12 ft. high, 21 in. 
wide. 

1830. Paysages de Brésil, in colour, painted by Rugendas. 

1831. Paysage a Chasse, in colours, 32 strips, 12 ft. high, 18 in. wide. 

1832. Décor Chinois, in colours, 10 strips, 12 ft. high, 21 in. wide. 

1834. Scenic America in colours, painted by F. Zipelius and Eugene 
Ehrmann, with views of Niagara Falls, New York Bay, West Point, 
Boston Harbor, The Natural Bridge in Virginia, and a dance of 
the Winnebago Indians. 32 strips. 

1838. Courses des Chevaux, grisaille. 
Flat-Racing at Newmarket. 
The Races in Rome. 
Hurdle Races. 
32 strips, 12 ft. high by 18 in. wide. 

1843. Isola Bella, landscape in colours, 18 strips, 12 ft. high, 18 in. 
wide. 


FRENCH WALL-PAPERS 443 


1848. Eldorado, in colours, designed by Ehrmann and Zipelius, 24 
strips, 12 ft. high, 20 in. wide. 

The Zones. 

1838. War of Independence. 

Belles Chasses de Maximilien. After Van Orlay. 

Isle des Pins. 

Lady of the Lake. 





CHAPTER XVI 
BIBLIOGRAPHY 





CHAPTER XVI 
BIBLIOGRAPHY 


ENGLISH 


An Essay on the Invention of Engraving and Printing in Chiaro-oscuro, as Practiced by Albert 
Durer, Hugo di Carpi, etc., and the Application of it to the Making of Paper Hangings of 
Taste, Duration, and Elegance, by Mr. Jackson of Battersea. Illustrated with Prints in 
Proper Colours. London; printed for A. Millar in the Strand, S. Baker in York Street, 
Covent Garden, J. Whiston and B. White and L. Davis in Fleet Street, London. 1754. 

The Gentleman and Cabinet-Maker’s Director, by Thomas Chippendale, London. (Paper 
borders designed by Chippendale.) 

The Letters of Horace Walpole, London. (Description of Jackson of Battersea’s papers in 
Strawberry Hill.) 

A Treatise on Wood-Engraving, Historical and Practical, with Upwards of 300 Illustrations 
Engraved on Wood. By John Jackson, London, 1839. (Excellent accounts of Papillon, 
John Baptist Jackson, et al.) : 

The Progress of Design in Paper Hangings. An Address read at the Incorporated Institute of 
British Decorators by Mr. Metford Warner. London, 1910. 

A Brief Sketch of the Morris Movement and of the Firm Founded by William Morris to Carry 
Out his Designs and the Industries Revived or Started by Him. Written to commemorate 
the firm’s fiftieth anniversary in June, 1911, London, privately printed. 

Cambridge Fragments. Cambridge, 1913. 

Robert Dossie’s Compendium, the Handmaid of the Arts. London, 1768. 

Decorative Art and British Decorator. December, 1909. (‘‘A Wall-paper Order given in 19a72 4 
Letter from Thomas Hancock.) 

Hints on Household Taste in Furniture, Upholstery, and other Details. Charles L. Eastlake, 
London, 1868. 

Gothic Forms Applied to Furniture, Decorations, etc. B. J. Talbert, London, 1876. 

Instances of Accessory Art. L.F. Day, London, 1879. 

History of Paper Hangings. Geo. F. Morton, Liverpool, 1875. 

History of Inventions, Discoveries, and Origins, by John Beckman. Translated from the German 
by William Johnston. London, 1814. See “‘Paper-Hangings.” 

History of Paper-Hangings —two articles by John Gregory Crace in the Civil Engineer and 

_ Architect's Journal, Scientific and Railway Gazette, London, 1839. Vol. II. 


FRENCH 


Dictionnaire du Citoyen, publié en 1761 avec Approbation et Privilége du Roi. (Papiers Ton- 
tisses.) 

Traité Historique et Pratique de la Gravure en Bois, par J. M. Papillon, Graveur en Bois et 
Ancien Associé de la Societé Académique des Arts, Paris, 1766. Rare; in the Biblio- 
théque Forney, Paris. 

Recueil des Papillon, presented in 1768 by Jean Michel Papillon to the Bibliothéque du Roi 
and now in the Galerie d’Estampes of the Bibliothéque Nationale, in Paris. Contains more 
than 5000 specimens of engravings by three generations of the Papillon family. 

Issue of “Le Mois,” An. VIII, No. 13, with sample of linon-batiste paper, and article on 
Jacquemart et Bénard. (1799-1800.) : 

Dictionnaire des Arts et Métiers. Editions of 1766 and 1773, Paris. (Dominotiers.) 

447 


448 HISTORIC WALL-PAPERS 


Musée Retrospectif de la Classe ’68, Papiers Peints, a Exposition Universelle Internationale de 
19004 Paris. Rapport du Comité d’Installation. Par Felix Follot. (Published for private 
circulation, out of print and difficult to find. In the Bibliothéque de I’Institut, Paris.) 

Description des Machines et Procédés consignés dans les Brevets d’ Invention, de Perfectionne- 
ment et d’Importation. Table des 40 Premiers Volumes, dressée par ordre de M. Cunin- 
Gridaine, Ministre de l’Agriculture et de Commerce. Paris, 1843. 

Memoirs of Comte Lavallette. (An eye-witness of the plunder of M. Reveillon’s warehouses, 
London, 1831.) 

Nouveau Manuel Complet du Fabricant d’Etoffes Imprimés et du Fabricant de Papiers Peints. 
(A volume of the series “Manuels Roret,” by L. Séb. Le Normand, Paris, 1856. Detailed 
description of fabrication in Dufour’s factory. Rare; out of print. In Bibliothéque Forney, 
Paris.) 

Almanach de Commerce, An. XII, 1811, 1822, 1836, 1845. (Lists of notable commercants.) 

Dufour’s Original Account-Books between 1824 and 1831, now in the possession of M. Charles 
Follot. 

Dictionnaire Critique et Raisonné des Usages de la Cour, by Madame de Genlis, Paris. 

Three Tracts on the Invention of Wood-Engraving and Printing, by Fournier le Jeune, Paris, 
1758-1761. 

Encyclopédie des Beaux Arts Plastiques, by Auguste Demmin. 

Les Papeteries d’Essénes, de Courtalin, et du Marais de 1791 a 1799. Par M. Fernand Gerbaux, 
Besancon, 1899. 

Bazar Parisien 1824. List of Makers of Wall-Paper from the Exposition of 1823. 

Savary (Jacques), called Savary des Bruslons. The Universal Dictionary of Trade and Commerce. 
Edition of 1723. 

Dictionnaire de l’Ameublement et de la Decoration depuis le 13me Siécle, jusqu’a nos Jours, 
par H. Havard. Vol. IV, Paris, 1887-1890. 

Guide Marseillais 1779-1780. Fabricants of the time in Marseilles. 

Géographe Parisien 1769. (Lancake.) 

Guides Rouennais 1750-1760. 

Les Arts du Bois, des Tissus, et du Papier; reproduction des Principaux Objets d’Art Exposés en 
1882 a la 7e Exposition de l'Union Centrale des Arts Decoratifs. Paris, 1883. (Article 
on Papier Peint, by P. Rioux de Maillou.) 

Sauvages de la Mer Pacifique; Tableau Composé pour Decoration en Papier Peint sur les Décou- 
vertes faites par les Capitaines Cook, de la Pérouse et autres Voyageurs, formant un Pay- 
sage en Nuance, Executé sur Vingt Lés ou Largeur du Papier du Vingt Pouces, sur Quatre- 
vingt-dix de Hauteur. (Descriptive booklet of the Captain Cook wall-paper published 
by Dufour in the year XIII. Rare; in library at Macon. A translation appended to this 
book.) 

Mélanges Tirées d’une Grande Bibliothéque, by André Guillaume Costant d’ Orville, Paris, 1799. 

Papiers de Tenture d’appartement déposés ala Bibliothéque de l’An. VII a X (1798-1802). 

Le Centenaire de la machine 4 papier, son invention, par Nicholas Louis Robert, 1799, a la 
papeterie d’Essones, de M. Didot St. Leger; Biographie de |’Inventeur, par J. Brevillé; 
Historique des Divers Perfectionnements apportés 4 la Machine Robert par Didot St. Leger, 
1800-1818. Alfred Firmin-Didot, Paris, 1900. 

Idée Générale d’une Collection Compléte des Estampes, Heinecken, 1771. 

Le Style Directoire ; Etoffes et Papiers de Tenture; Documents recueillis par Egon Hessling. 


AMERICAN 


Bulletin of the Pennsylvania Museum, May, 1921. Captain Cook Wall-Paper. 
A Brief Examination of Lord Sheffield’s Observations on the Commerce of the United States, 
by Tench Coxe. Philadelphia, 1791. 


BIBLIOGRAPHY 449 


The Commerce of America with Europe, Particularly with France and Great Britain, Compara- 
tively Stated and Explained, Shewing the Importance of the American Revolution to the 
Interests of France, and Pointing out the Actual Situation of the United States of North 
America in Regard to Trade, Manufacture, and Population. By J. P. Brissot de Warville 
and Etienne Claviére. Translated from the last French Edition. New York, 1795. 

Issues of The Pennsylvania Gazette, The New England Journal, The Pennsylvania Packet, The 
New York Daily Advertiser, The Federal Gazette, The Albany Gazette, The Independent Chronicle 
and Universal Advertiser, The Boston News Letter, The Boston Gazette, The Boston Evening 
Post, The Boston Chronicle, The Massachusetts Centinel between 1710 and 1800. 

Old-Time Wall-Papers, by Kate A. Sanborn New York, 1905. 

Decorative Textiles, by George Leland Hunter, 1918. 


GERMANY 


Die Tapete und das Elsass-Kunstgewebe in Alsass-Lothringen, by Karl Bruehler. 

Beitrag zur Geschichte der Tapeten Industrie. Fischback. Darmstadt, 1889. 

Die Tapete, by Thedor Seeman, Vienna, 1882. 

Anfange der Druckerkunst in Bild und Schrift, an deren frihesten Erzeugnissen in der Weigel’- 
schen Sammlung erlautert, by T. O. Weigel and A. C. A. Zestermann. Leipzig, 1866. 

Handbuch der Papiertapeten Fabrication, by Rudolph Adelbert Meyer. 

Tapeten und Buntpapier-Industrie, by Dr. W. F. Exner, Weimar, 1869. 

Geschichte des Papiers, by W. F. Exner, Wien, 1862. 

Die Buntpapier und Tapeten-Industrie auf der Pariser Ausstellung, 1867, by W. I’. Exner. 

Nachrichten von Kunstlern und Kunstsachen, by Von Heinecken, Leipzig, 1708. 


MAGAZINE ARTICLES 
Hunting Old-Time Wall-Papers, by Grace L. Temple. American Magazine of Art, September, 
1920. 
English Wall-Papers of the Eighteenth Century, by Oliver Brackett. Connoisseur, October, 
1918. 


Old Pictorial Wall-Papers, by Helen D. Bogan. Country Life, July, 1917: 

Seventeenth Century Wall-Paper at Wotton-under-edge, by A. G. B. Russell. Burlington 
Magazine, July, 1905. 

Chinese Wall-Papers of a Century Ago, by E. Clute. House and Garden, July, 1918. 

Old French Wall-Paper Decorations. House and Garden, December, 1918. 

Jackson of Battersea and His Wall-Papers, by McIver Percival. Connotsseur, Vol. LXII, page 25. 

La Tradition du Papier Peint en France, by Henri Clouzot. Gazette des Beaux Arts, Vol. LIV, 
page 131. 

Le Papier Peint a Travers les Ages, by Henri Clouzot. . L’ Architecture, April 25, 1922. 

Au Temps ot les Murs Parlaient, by Henri Clouzot. La Renaissance Francaise, September, 1920. 

Papier Peint de ?Epoque Napoléonienne, by Henri Clouzot. Gazette des Beaux Arts, Vol. 
LVI, page 42. 

Ancestors of Wall-Paper, by George Leland Hunter. Good Furniture, Vol. XVI, page 295. 

Vieux Papiers Peints, by Fernand Roche. L’Art Decoratif, Vol. XXVII, page 117. 

Les Vieux Décors en Papier Peint, by L. Bouteille. L’ Art Decoratif, Vol. XXVIII, page 175. 

Wall-Papers, their Origin, History, and Manufacture, by George Leland Hunter. Good Fur- 
niture, Vol. IX, page 79. 

Ye Old Picture Wall-Papers, by Edward B. Allen. House Beautiful, 1921, page 369. 


29 








INDEX 





vie e j - = 


INDEX 


Abbott, Mrs. Gordon, 330 
Abbott, Marcia Ransom, 397 
Achilles, Life of, 128 
Adam, 80, 238, 415 
Allen, Edward B., 204 
Almanachs, 131 
American Wall-paper, Early, 13, 235-276 
Andrew, John Albion, 160, 282, 287-289 
Anisson-Duperron, 131, 419 
Antenor’s Travels, vi, 322, 378, 379, 439 
Apollo Belvedere, 149 
Apollo and the Muses, 193, 194 
Appleton Inn, 336 
Appleton, William Sumner, vi, 187 
Archives 

Paris, 20 

Rouen, 20 

Vatican, 120 
Arsenal, 82 
Arthur et Robert, 128, 129, 294, 295, 415, 437 
Aubert, Didier, 5, 58, 60, 81, 415 
Au Papillon, 75, 81 


Badger homestead, Governor, 303 
Badminton House 
Chinese room, 103 
Bailey House, 298 
Baker, Mrs. George B., Pas 159, 294, 295 
Ballard, Mrs. W. P., 269, 359 
Banks of the Bosphorus, 179,273, 3604, 365; 
439 
Barberot, 73 
Barnard-Andrew-Perkins house, 212 
Barry, William E., 388 
Battersea 
Jackson’s factory, 142 
Battle of Austerlitz, 191, 441 
Bay of Naples, 171, 172, 273, 388, 389, 439 
Bayly, William, 43, 44, 416 
Belknap, H. W., vi 
Berbey, Mrs. Henry, 340 
Bergeron, Madame, 172 
Berkman, james, Jr., 260 
Berthelot, 136, 416 
Bichon, 131 
Bixby, Mrs. H. O., 187, 380 
Blanc, Charles, 8 
Blanchard, Joshua, 246 
Blondel, 80, 416 
Boileau, 48, 416 
Booksellers and Printers, 27, 28, 238, 241 
Borden Hall 
Paper discovered in, 43 
Boriken, Edward, 270, 430 
Bosio, 160 
Boucher, 107, 128, 417, 437 
Boulard, 79, 417 
Bourdichon, Jean, 19, 417 


Boylston house, Nicholas Ward, 388, 397 
Bright, John, 254, 430 
Briscoe, John, 55, 417 
Brock, 132, 340, 417 
Brown, Mrs. Charles A., 
Buckman Tavern, 239 
Bumstead, Josiah, 270, 274, 430 
Burgess, Theodore, 99 

Burn, Henry, 255 


176, 366 


Campaigns in Italy, 180 
Camus, 9 
Captain Cook Wall-paper, vi, vii, 15, 175, 176, 
188, 273, 366-370, 399-412, 439 
Carnes, Burrill and Edward, 259, 260, 430 
Cartulat, 191, 417, 418 
Chardon, Anthony, 260, 430, 431 
Charvet, J. C., 366, 418 
Chase, Mrs. Allen T., 345 
Chauvau, 5, 79, 418 
Chelsea 
Factories in, 48 
Chereau, Jacques, 59, 418 
Chiaroscuro, 47, 142, 144 
Chickering, Helen T., 364 
Chinese Art in America, 99 
Christ’s College 
Papers in, 39-41 
Cid, 181, 182, 183, 188 
Cietti, 7, 115, 121, 127, 418, 442 
Cleret Margeridon, I9T, 418, 437 
Clough, Ebenezer, vi, 265, 266, 268, 269, 430 
Clouzot, Henri, v, 56 
Cloye, Josiah, 397 
Cochin Noél, 73 
Colour-printing from blocks, 5, 6, 15, 33, 34, 
79, 80, 90, 96, 195, 196 
Columbus, Christopher 
Panel, 162 
Combs 
for marbleized papers, 22, 23, 25 
Commerce 
U. S. with England, 47 
China and Portugal, 69 
England and Orient, 95 
U.S. and Europe in 1788, 237; in 1791, 238 
Conspectus of Biography 
Dealers, designers, and manufacturers 
European, 415-430 
American 430-434 
Cook-Oliver house, 336 
Cooper, Mrs. J. Fenimore, 354 
Copper plates, 26, 47, 48, 82 
Cornelius, Charles O., vi 
Cornwallis 
At Yorktown, 199 
Costain, 132, 418 
Courtalin-en-Brie, 116, 124, 125 


453 


454 


Coutts Bank 
Chinese paper, 103 
Cowles, Mrs. E. C., 380 
Crocker, Frank, 348 
Cupid and Psyche, 8, 171, 175, 176, 179, I91, 
281-286, 439 
Curtis, Charles P., 397 
Cushman, Mrs. Robert, 394 


Damiens, 131, 419 

Darly, Matthew, 419 

Dauptain, 419, 437 

David, 131 

Declaration of Independence, 225 

Deering, James, 176, 314-317 

Defourcroy 

Paper in Arts Decoratifs, 24, 30, 238, 419 

Deighton, Edward, 47, 419 

Delafosse, Charles, 128, 437 

Delany, Mrs. 

Letter—Indian paper, 103 

de l’Estoile, Pierre, 25 

Delicourt, 191, 419, 438 

Deltil, 166, 338, 339, 419 

Demarest, J. M., 226 

Descouteaux, 85, 419 

Desfossé et Karth, vi, 192, 195, 281, 330, 331, 
354, 379, 419, 437, 438 
esrais, 115, 420 

Diana, 135 

Dickinson, Ann, 250, 431 

Dickinson, Joseph, 249, 250, 253, 431 

Didot St. Leger, 135, 420 

Distemper colours, 5, 26, 34, 63 

Doggett, Kate N., 336 

Dolphus, Jean Jacques, 165, 420 

Dominotiers, 4, 9, 13, 19-30, 33-35, 44, 70, 
76, 90, 108, 238 

Don Quixote paper, 298, 299 

Dossie, Robert, 96 

Doyle mansion, 264 

Draper house, 263 

Dream of Happiness, 354-358, 438 

Dudley House, 270, 271 

Dufour, Joseph, vi, 7, 15, 132, 155, 165, 168, 
171, 172, 175-177, 179, 180, 187, 188, IgI— 
197, 226, 281, 314, 322, 332-335, 337, 360, 
364, 366, 376, 378, 379, 390, 392-394, 399, 


403, 420, 438, 439, 441 
Dufour et Leroy, 188 


Dugoure, Demosthéne, 131, 419 
Dumont, 85, 420 

Dunbar of Aldermanbury, 55, 100, 420 
du Pin, 25 

Duserre er Cie, 173 

Duvaux, Lazare, 104, 421 

Dying Gladiator, 149 


East Indian Company, 69 
Eckhardt, Anthony G., 48, 150, 421 
Eckhardt, Francis F., 48, 150, 421 
Eddy, Jean E., 397 

Ehrmann, 166, 167, 304, 421, 443 
Eldorado, 167, 304, 305, 443 





INDEX 


Elmwood Inn, 336 
Emerson, W. H., 388 
Empire, Second, 8, 220 
Engelmann Thierry, 165 
English white paper 

Patented in 1685, 55 
Erving, H. W., 397 
Esmeralda paper, 248 
Eyre Hall, 397 


Faubourg St. Antoine, 116, 123, 126, 132 
Fay, J. B. 
Designer for Reveillon, 7, 421, 442 
Fétes Louis XIII, 191 
Field, Mrs. Marshall, 248 
Five Senses 
Panels, 118, 127 

Fleeson, Plunket, 241, 242, 246, 431 
Flock hangings, 52 
Folie Titon, 116, 123 
Follot, Charles, v, 9, 171, 172, 281, 301, 302 

340-344, 437 

ollot, Felix, 13 
Forbes, Commodore Robert B., 99 
Forrester house, 296 
Foster, James H., 273 
Fournier, 85, 421 
Fowler house, Samuel, 275 
Fragonard, 128 
Fragonard fils, v, 172, 300-302, 421 
Freeland, Henry Dewitt, 306, 376 
French in Egypt, 179, 306, 307, 439 
French Revolution, 119, 136, 208, 210 
Frescoes, 204, 209 
Fuchs, 166, 421 


Gamble, John, 44, 422 
Garden of Armide, vi, 195, 330, 331, 438 
Gardner house, John L., 388 
Garnier, Pierre, 58, 422 
Gautier, Theophile, 8 
General Montgomery house, 276 
de Genlis, Mme., 58 
Gerry family, 96 
Gilbert, Mrs. W. D., vi 
Givry, 208, 209 
Gluers, 85, 119 
Glue-sized colours, 6, 35, 76, 195 
Goes, Hugo 

Paper in Christ’s College, 39-41, 422 
Gordon, Mrs. Mary Emma, 256 
Gore Mansion, Governor, 244, 272 
Gouache, 90 
Goupy, 80, 422 
Gozzaldi, Mrs. S. M., 397 
Grant, Moses, 254, 270 
Gridley, G. O., 380 
Grotto, The, 122, 127 
Guérin, 132, 422 


Ham house, 176, 366 
Hamilton House, vi, 251 
Hampton Court, 56 
Hancock-Clark House, 252 


INDEX 


Hancock, John Gregory, 48, 422 
Hancock, Thomas, 99, 431 
Harington House, 146-148, 150, 324 
Harrison Gray Otis House, 184-187 
Hartmann Rissler, 135, 136, 165, 422, 439, 440 
Harwood, 48, 422 
Hatfield, Mrs. Hugh, 376 
Hayward house, 345 
Hedges, Mrs. Geo. B., 210, 213 
Henchman, Daniel, 238, 431 
Henderson, J. Webster, 179, 340 
Hermitage, The, 180, 376 
Hicks, Mrs. Ernest H., 306, 307 
Hill, Samuel, 265 
Hindostan scenery, 180, 273, 360-363, 439 
Hooper, Mrs. William, 99 
Horse Race, The, 167, 292, 293, 442 
Houston, James, 196 
Hovey, Joseph, 254, 432 
Howell, John, 255, 274, 432 
Howell, Zophar, 255 
Huard, Charles, 296, 297, 437 
Huet, 7, 16, 107, 115, 126, 128, 135, 423, 440 
Hunt, the Great 

By Delicourt, 191, 438 

Under Louis XIII, 191, 439 

By Vernet, 318-321 

Landscape of, Zuber’s, 167-170 
Hunter, George Leland, v 
Huquier, Jacques Gabriel, 5, 59, 82, 423 


Images, 26-28 
Importation 

Into England prohibited, 44 
Incas, The, 172, 322, 323, 441 
Iselin, Mrs. Ernest, 218, 219 
Isnard, 85, 423 
Isola Bella, 167, 442 


Jackson, Andrew, 180, 376 

Jackson of Battersea, 47, 79, 141-154, 165, 
324-329, 423 

Jacquemart et Bénard, 113, 126, 128, 131, 
133, 135, 136, 160, 191, 287-289, 423, 440 

James, Mrs. Walter, 282 

Jelke, F. Frazier, 248 

Jourdan Villars, 191, 441 


King Cesar House, 322 

King Hooper Mansion, 96, 97, 99, 269, 359 
Kirkhall, 141 

Knapp, F. B., 322, 397 

Knapp house, Walpole, 336 


Laboissiére, 82, 423 

La Briére, 48, 417, 

Lady of the Lake, 345-347, 443 
Lafayette, 180, 199, 364, 438 

Laffitte, 16, 176, 281, 423 

La Fontaine, Fables of, 174 

de Laire, Vincent Pesant, 85, 424 
Lancake, 59, 424 

Landscape of Brazil, 166, 428, 442 
Landscape of Distant Countries, 166, 442 





455 


Landscape of the Hunt, 167-170, 338, 339, 
442 
Langley, Mrs. William C., 318, 319 
Langlois, Veuve, 80, 81, 415, 424, 427 
Lanyer, Jerome, 52, 55, 424 
La Pérouse, 175, 403 
Lapeyre et Drouart, 191, 424, 441 
La Salle, Philippe de, 138 
Lathrop, Miss Janet, 290 
Lavallée-Poussin, 7, 115, 442 
Lavallette, Count, 120 
Law, Samuel, 265, 432 
Lawrence, Thomas, 246, 432 
Le Breton 
Pére et fils, 25, 26, 82, 424 
Le Collay and Chardon, 260 
Lecomte, 59, 60, 424 
Lee Mansion, Jeremiah, 149, 150, 324 
Lee Mansion, Wm. Raymond, 190, 364, 365 
Lee, Thomas, 246, 247, 432 
Le Frangois 
Binder of Rouen, 3, 51, 52, 
Flock papers, 5, 51-64, 424 
Legendre, 131, 197, 424 
Legislative Acts 
Dominotiers, 13, 26-30 
Flock papers, 60, 63 
Legrand, 131, 424 
Le Petit Décor, 188, 189, 332-335 
Lerouge, 132, 425 
Leroy, A., 7, 135, 188, 322, 348, 425, 441 
Leroy, Isidore, 195 
le Sueur, Nicholas, 16, 143, 425 
le Sueur, Vincent, 80, 425 
Letourmy, 85, 425 
Libraries 
Bibliothéque Nationale, vii, 14 
Bibliothéque de |’Institut, vii 
Library of Congress, vii, 269 
New York Public, vii 
Lindens, The, 322, 323, 376 
Louis, 48 
Louis Philippe, 136 
Lyman, Mrs. J. B., 336 
Lyon, Charles Woolsey, 209 
Lyon, Mrs. J. D., 306 
Lyon 
Marbleized paper, 22 


Macartney, Lord 

Gift of Chinese paper, 103 
Machine-printing, 9, 15, 16 
Mackay and Dixey, 265, 432 
Mader, 16, 176, 191, 192, 425, 441 
Maillou, 128 
Malaine, Joseph Laurent, 16, 166, 425, 442 
Marmontel, 322 
Marvin, William E., 345 
Mason, Mrs. Rodney, 179, 364 
Mason, Wallace L., 394 
Maverick, John, 241 
May, William, 254 
Mayo house, 332 
Mc Ginley, Mrs. E. B., 388 


450 


McMaster, William G., 240 
Medal 
Reveillon’s, 124-126 
Merriman, E. B., 97, 99, 220, 221 
Mifflin, Mrs. George, 304 
Mifflin, George, 388 
Mincing Lane, 95 
Minute-man, Lexington, 239 
Moffatt-Ladd house, 388 
Monfaucon 
Marbleized paper, 22 
Mongin, 166, 426, 442 
Monroe Tavern, 364 
Montgolfier Brothers, 116 
Months, The Twelve, v, 273, 300-302, 438 
Monuments of Paris, 171, 172, 179, 219, 
336, 337, 366, 392, 439 
Moore, Mrs. Edward S., 336 
Moore, Mrs. Paul, 159, 294 
Morgan, Miss Anne, 290, 291 
Morgan, Edith Parsons, 267, 269, 359 
Morris, Robert, 96 | 
Morrow, John J., 306 
Morse, Horace, 287 
Morse, John Lovett, 187, 376 
Munsterberg, 99 
Muses 
By Ridé, 128 
Apollo and, 193, 194 
Museums 
Boston Museum of Fine Arts, 371-375 
Chicago Art Institute, vi, 179, 306, 307 
Essex Institute, vi 
Lexington Historical Society, 239 
Marblehead Historical Society, vi, 149 
Metropolitan Museum of New York, vi, 
93, 94, 159, 161, 294, 354-358, 437 
Musée des Arts Decoratifs, Vile ul 7 3an 7s 
198, 282, 330, 437 
Musée Galliera, Vv 
Pennsylvania Museum, vi, 176, 240, 275, 
354, 366 
Society for the Preservation of New Eng- 
land Antiquities, vi, 184-187, 251, 268, 
395,396 a 
Victoria and Albert, London, vii, 41, 42, 
45, 46, 54, 91, 103, 145 
Mythological Gallery, 176, 314-317, 439 


Napoleon, 211, 240 

Narrows, The, 240 

National Assembly, 125 
Necker, Minister, 116, 123-125 
Nelson, Mrs. Hugh, 336, 388 
Nicot, 26 


Oberkampf, 70, 126 

Oil colours, 79, 144, 149 

Olympic Fétes, vi, 180, 191, 394-396, 439 
Osborn, F. H., 348 

Oudry, 7 

Outhwaite, Mrs. Leonard, 269, 359 





273; 





Pagetaiis 
Panseron, 80, 426 


INDEX 


Paper-stainers 
English, 44, 47, 48 
American, 249, 265, 266 
Papillon, Jean 
Biography, 73, 74, 426 
Invents continuous design, 4, 16, 70 
Large blocks, 33 
New idea, 69, 70 
Complete craftsman, 70, 73 
Apprenticed, 73 
Stamps petticoats, 73 
Designs laces, 74 
Opens shop, 74 
Invents lustre papers, 76 
Method of designing, 76 
Illuminated papers, 56 
Textile papers, 70 
Signature, 74 
Imitators, 80 
Papillon, Jean Michel, 5, 34, 73-75, 79-81, 141, 
165, 427 
| Parker, John, 241 
Parsons, The Misses, 269, 359 
Patents, 13, 43, 47, 48, 52, 55, 
195 
Patterson, Emily, 380 
Patuxent Gun Club, 332 
Paul and Virginia, v, 132, 179, 340-344 
Paul Revere paper, 352, 353 
Peacock paper, 244 
Peirce, Jerathmeel, 249, 433 
Pennsylvania 
Paper factories, 237, 238 
Perry, Mrs. Charles F., 376 
Perry, Michael, 238, 433 
Phelon, Mrs. Elizabeth, 388 
Philipon, 135 
Phillips, John, 241 
Pickering house, 175 
Pignet pére, 131 
Pillement, 107, 142 
Pinchot, Mrs. Gifford, 300 
Piranesi, 142, 150 
Pizarro, 322, 323 
de Poilly, M. N B. 
Polishing papers, 26 
de Pompadour, Mme., 57, 107 
Porticoes of Athens, 163, 164 
Poyntell, William, 249, 255-259, 433 
Prentis, Appleton, 254, 433 
Prentis & May, 254, 433 
Presses, 27, 29, 30, 33, 76, 144 
Prieur, 7, 115, 427, 440 
Le Prince, 107 
Printers, 119, 196 
Printing-machine, 9, 15, 195, 196 
Prudhomme, 107, 427 
Putnam-Hanson house, 360-363 
Puzenat, Widow, 165 


132, 135, 


16). 825 427 


Quaintance, Mrs. John, 376 
Quincy, Dorothy, house 
Paper in dining-room, I01, 102, 234 


INDEX 


Rabier-Boulard, 85, 427 
Railroad, First, 210 
Rea, Henry O., 380, 381 
Renaud and Armide, 348-351, 441 
Restoration papers, 6 
Retrospective Exhibit, 13 
Reveillon, 7, 113, 115-128, 131, 132, 166, 427, 
A41, 442 
Ridé, 128, 437 
Rixheim, 165, 166 
Robert, 135, 159, 191, 428 
Robert, Nicholas Louis, 135, 428 
Robinson, D. Samuel, 241, 433 
Roche, 85, 428 
Roppenzwiller, 166 
Roquis, 58 
Rosenbach Galleries, 282 
Rossetti, 48 
Rouen 
Centre for dominotiers, 20, 34, 57 
Rowe, John, 99, 428 
Royal Manufactory 
Reveillon, 116, 125 
Oberkampf, 126 
Gobelins, 166 
Ruel-Williams Mansion, 176, 366 
Rugar, John, 246, 433 
Rugendas, 166, 428, 442 
Ryves and Fletcher, 246, 249, 433 


Salamon, 120 

Salem Club, 304, 305 

Sanborn, Kate, 13 

Sanborn, Professor EF. D., 388 
Saulter house, Captain, 386, 387 
Savage, 85, 428 

Scenic America, 167, 386, 387, 442 
Scotin, 85, 428 

Scott, Professor W. E. D., 336 
Seasons, The, 371-375 
Sheffield, Lord, 238 
Sherringham, 48, 428 

Simon, 131, 165, 178, 191, 429 
Sinkler, Carolyn, 230 

Sleeper, H. D., 97, 99 

Smith, Asa, 270, 275, 434 
Smith, Nora Archibald, 204 
Smith, Mrs. Zilpha I., vi, 175 
Stanton house, 261 

Steel, Lemuel, 255 

Strahan, Thomas, 352 
Strawberry Hill, 150-153 
Symonds, Miss Annie, 176, 366 


Tapissiers, 26 
Tax on papers 
Tax stamp, 44, 352 
Duty paid in England, 47 
Tax on flock papers, 63 
On papers imported to U. S., 245 
Taylor, Mrs. Emma, 388 
Telemachus, Adventures of, 8, 180, 322, 376, 


377, 439 ; 
Temple, Grace Lincoln, v, 371 








457 


Tenney, Mrs. D. D., 332 
Thayer, Mrs. E. B., 378 
Theobald, Miss V. M., vi 
Thoron, Mrs. Ward, 322, 323, 376 
Three Musketeers, 210, 213-217 
Tichenor, Governor, 269, 359 
Wierce; 57, 
Titon du Tillet, 116 
Toile de Jouy, 7, 126 
Tontisses, 52, 60, 63, 64, 160 
Traité Historique 

By Papillon, 73, 81, 447 
Triumph of Law, 136 
Turkish Landscape, 180 
Tutt, Hannah, vi 


Upholsterers and Undertakers 
Selling wall-paper, 245 


Valencay, Chateau de, 282 

Van Buren, Martin, 167-170, 187, 338, 339 
Van Loo, 128, 220, 222, 437 

Van Ness, Peter, 167 


| Van Rensselaer Manor House, 149, 304, 324- 


329 


| Vasseau, 85, 429 

| Vaughan, Mrs. Charles A., 392 

_ Vaughan, Mrs. Henry, 210, 219, 251 
| Vautrain, 85, 429 


Venetian Scenes, 380-385 

Venus de Medici, 149 

Vernet, 223, 318-321, 380 
Verplanck, J. Bayard, 163, 164, 207 
Views of Hereford, 180 

Views of Italy, 171, 172, 180, 273 
Views of London, 180, 390, 391 
Views of Lyons, 180, 392, 393 

Views of Switzerland, 159, 166, 273 
Views of Town and Country, 308-313 
Viole, 135 


Wade house, John, 380 
Waldon, Samuel, 100 
Walker house, 336 


| Wall-papers 





All-over designs, 30, 40, 70, 174, 178, 198, 
257, 258 

Anglo-Chinese, 90, 91, 96, 99, 103 

Arabesque, 48 

Block-stamped, 19, 26, 29, 30, 34, 40, 43 

Borders, 201, 220, 225, 226, 230, 273 

Brocades, 85 

Brocatelles, 4, 8, 56 

Chinese, 15, 25, 44, 51, 58, 59, 70, 89, 90, 
93-107, 141, 143, 144, 150, 249 

Continuous designs, 70, 76, 238 

Cretonne imitations, 70 

Damask, 5, 48, 55, 64, 85, 273 

Directoire, 127, 159, 178, 219 

Domino, 4, 8, 20, 35 

Drapery, 6, 175, 273 

Dutch tiles, 153 

Embossed, 48, 55, 82 

Endless, 44, 135 


458 


Wall-papers, continued 
English blue, 58 
Fireboards, 201, 220, 222, 223, 254, 274 
Flock, 3, 5, I4, 51-64, 69, 76, 115, 249 
Franco-Chinese, 90, 92, 104-108 
Gold and silver, 82 
Gothic, 153, 246, 247 
Illuminated, 4-6, 26, 34, 35, 56, 76, 79; 

85 
Imitations of painting, 7, 15, 57 
India, 104, 249 
Indiennes, imitations of, 43, 70 
Landscapes, Jackson’s, 141 
Leather, 8 
Lining papers, 45, 46 
Linon batiste, 6, 132, 135 
Lustre, 76 
Marbleized, 20-26, 82 
Moire, 137, 273 
Mouldings, 6 
Overdoors, 201, 220, 224, 229 
Pagoda, 104 
Painted, 5, 35.51)238, 241 
Panels, 115, 118, 121, 127, 144, 254 
Pompadour, 131 
Pompeian, 127, 128 
Printed stuffs, imitations of, 15, 70 
Quires, 30, 238)°241, 274 
Rococo, 131, 150 
Rolls, 8, 85, 116, 241 
Satin, 6, 273, 274 
Scenic (printed), 7, 8, 15, 155, 157-172, 
192, 195, 196, 277-397 

Scenic (painted), 201, 203, 209, 210 
Screens, 201, 231-233 
Sheets, 4, 25, 30, 44, 85, 116, 157 
Stained, 237, 238 
Stampt, 241 
Statues, Jackson’s, 141, 144, 149, 154 
Stencilled, 14, 15, 26, 34, 40, 219 
Stucco, 149, 150 
Tapestries, 3, 14, §1, 55 
Upholstery, 30, 74 
Vellum, 116 
Velvet, 4, 5, 8, 52, 55, 64, 85 
Venetian panels, 47, 142 
Wainscot, 55, 168-170, 180, 261 
Wood imitations, 82 





INDEX 


Walpole, Horace, 142, 150-153 

War of Independence, 167, 199, 443 

Warner, Roger S., 364 

de Warville, Brissot, 237, 238 

Washington, George, 241, 266-269, 359, 438 
Washington Memorial Paper, 266-269, 359 
Watkins, Walter, 253 

Wearne, Harry, 160 

Webb, Mrs. J. Watson, 105, 106, 208, 209, 211, 


392 

Webb, Thomas, S. 265, 434 
Welsh, John, Jr., 253, 254 
Wentworth mansion, 56 
Wheelwright house, Abraham, 380, 385 
Whipple, George M., 308 
White, Blanch, 246, 434 
White, James, 245, 434 
White & Lawrence, 245, 434 
Whitewashed walls, 249 
Wiggin, Kate Douglas, 204, 205 
Willard, Henry K., 394, 397 
Williams, Rev. Pelham, 345 - 
Wilson, Elsie Cobb, 382-384 
Winnington Hall 

Chinese paper, 103 
Women’s Republican Club, 225 
Wood-blocks 

General, 9, 14, 15, 19 

Le Francois”,4 1°57 

Dominotiers’, 28-30, 34 

For flock papers, 26, 63 

Papillon’s, 73, 75, 76, 79, 80, 141 

de Poilly’s, 82 

Hugo Goes, 40 

Reveillon’s, 127 

Jackson’s, 144 

Scenic papers, 195, 203, 204 
Wood-engravers, 4, 26, 28, 29, 34, 79-82, 119, 

196, 203 

Woman’s City Club, Boston, 354 
Woodhouse, Samuel W., Jr., vi 
Wotkyns house, 397 


Zipelius, 166, 167, 304, 430, 442, 443 

Zones, The, 167 

Zuber, Jean, 7, 155, 159, 165-170, 195, 199, 270, 
292, 293, 304, 338, 339, 345, 386, 430, 442, 
443 








GETTY RESEARCH INSTITUTE 


iid 








CHART OF IMPORTANT DATES IN WALL-PAPER HISTORY 








HOLLAND 


Year 








1568 Hermann Schinkel, the Dutch 
printer, makes block-printed 
papers in Delft. 


1758 Johannes Remmers, Roose- 
stract, the Hague, advertises 
painted and printed room- 
hangings of the newest designs. 


1768 Eccard, of the Hague, made 
paper-hangings printed with 
gold and silver. 





Year ENGLAND 











1509 Hugo Goes stamps papers 
with design of Genoese velvet 
on one side, proclamation of 
accession of Henry VIII on 
other, used for covering ceil- 
ing beams in Christ's College, 
Cambridge. 








1634 Jerome Lanyer applies to 
Charles I for permission to 
make “flock hangings on 
linnen, cloath, silk, cotton and 
leather,” paying the sum of 
£10 year for the privilege. 


1685 John Briscoe patents machine 
for making English white 


paper. 





1689-1714 During the reigns of 
William and Mary and 
Queen Anne, Chinese 
Papers are imported by 
the East India Com- 
pany and imitated in 
England. Marbled 
Papers are in fashion for 

..,. halls and stairways. 

William Bayly takes out first 

patent for paper-hangings, 

claiming an invention for 
printing papers ‘‘ with several 
engines of brasse.”’ 


1692 





About 1720 First attempts to print 
in colour from wood- 
blocks. 


1746 John Baptist Jackson opens a 
actory in Battersea to print 
panels of wall-paper with 
Classic landscapes, statues, 
and Venetian prints, in oil- 
colours. 











1779 The importation of wall-paper 
into England is forbidden by 
law. Home-made paper is 
licensed and taxed. 


1786 Anthony and Francis F. 
Eckhardt establish a factory 
in Chelsea, cae J from cop- 
per plates as well as wood- 


blocks. 


1801-1803 John Gamble obtains 
the English patent 
tights to Nicholas Louis 
Robert's invention of 
endless paper, but its 
use in England is not 
permitted before 1830. 





Prohibition of importation of 
foreign wall-paper removed: 
duty fixed at 1/ per square 
yard. Influx of French papers. 


1825 


Continuous rolls of paper 
adopted. Cylinders substi- 
tuted for blocks in printing 
continuous designs. 
Bumstead invented a one- 
colour printing-machine. 


1830 


1835 


Tax on wall-paper abolished. 
William Troutbeck of Liver- 
pool is first to use calico-print- 
ing-machine to. print  wall- 

apers. Almost immediately 
Falower by Potter of Darwen. 
Four-colour printing-machine 
invented. 


1836 
1838 


1839 


1843 Pugin designed the celebrated 
wall 


-paper for the Houses of 
Parliament. 


William Morris begins to de- 
sign his famous wall-papers, 
the first being the Trellis de- 
sign. 


1862 


Year FRANCE 


An edict of Henri IV bears 
witness to the existence of 
makers of wall-paper designed 
to take the place of tapestries 
and other wall-hangings. 


1586 Charter granted to a corpora- 
tion called the Guild of Dom- 
inotiers, Tapissiers, and Ima- 
giers, who make stencilled 
domino papers, upholstery 
papers, and hand-coloured 
pictures. : 
Le Francois of Rouen begins 
the fabrication of flock papers, 
made with chopped wool. 


1620 


1688 Jean Papillon makes first 
continuous repeating designs 
in painted paper, creating the 
fashion for wall-paper col- 
oured by hand with stencil 


patterns. 


1750-1780 Influx of English flock 
papers into France de- 
stroys popularity of 
Papillon’s papers. 
French manufacturers 
in self-defence forced to 
make similar papers in 
every factory. : 

1750 Jacques Chauvau, pupil of 

apillon, perfects colour- 
printing from superimposed 
wood-blocks, in o1l-colours. 


1760 Fournier makes the experi- 
ment of pasting together the 
small sheets of paper in gen- 


eral use, to form rolls. 





1765-1789 Reveillon conducts ag 
wall-paper factory with 
300 workmen in the old 
Folie Titon in Paris, 
employs the best artists 
as designers, and makes 
the finest block-printed 
papers ever produced. 


1778 Decree fixes the length of 
nine aunes (about 34 feet) as 
standard length for rolls of 
paper. This is obtained by 
ee as 24 small sheets end to 
end. 


1783. Duc de Chaulnes perfects 


colours insoluble in cold water. 


1785 At this date there are four- 
teen wall-paper merchants 
and fabricants in Paris. In 


1788 there are forty-eight. 


4 


1790 Founding of the house of 
Dolphus in Rixheim, of which 
ean Zuber became sole pro- 


prietor in 1802. 


1795 Metric system is imposed on 
April 7th. Width of roll of 
Paper changed to 50 cm. 

Nicholas Louis Robert, of the 
firm of Didot St. Leger, in- 
vents endless paper without 
seams and without divisions. 


1799 


1804 Jean Zuber issues the scenic 

aper, ‘Vues de Suisse.” 
ven h Dufour, of Macon, 
establishes factory in Paris, 
and produces large decora- 
tions of scenic paper. 


1807 


1827 First printing of wall-paper is 


done from engraved cylinders. 


1835 Continuous rolls of paper in- 
vented by Nicholas Louis 
Robert, of Didot & St. 


Leger, Essénes. 


1840 Isidore Leroy patents in 
France the English machine 


to print in one or more colours. 


1850 Zuber imports first cylinder 
Pontmemachine from Eng- 

d into France. : 
Paul Balin perfects mechani- 
cal methods for reproducing 
velvet, leather, and Gobelin 
tapestries, 


1861 


Year 





AMERICA 








1700 The first imported “painted 
papers”’ are found in Boston 
in the stock of a bookseller 
and stationer. An important 
commerce in wall-paper with 
England and France exists by 
1735. 


1739 The first home manufactory 


of wall-papers is founded in 


1757 Johann Andreas 
N eres establishes factory 
at Fran 


Philadelphia by Plunket 
Fleeson. 
1765 John Rugar, New York, 


announces ‘“‘paper-hangings 
made in this province.” 


Year 





GERMANY 


1670 The first factory for making 


wall-paper is established in 
ermany by Johann 
Hautzch, of Naremberg. 


Benjamin 
fort. 


1766 Gold and silver papers are 


1775 Ryves and Fletcher, Phila- 
delphia, New American Man- 
ufacturers and Paper-stainers. 


1783 Ryves and Ashmead, factory 
in Philadelphia. 
1784-1788 Joseph Dickinson manu- 
factures wall-paper in 
Philadelphia, 


1786 John Welsh, of Boston, opens 
factory in Scott’s Court. 


1788-1794 Joseph Hovey, of Bos- 
ton, stains papers and 
prints linens. 


1790 Prentis and May open fac- 
tory in Boston. 

1790 John Howell opens factory 
in Albany. 

1791 William Poyntell opens fac- 
tory, Philadelphia. 

1793 Mills and Webb open paper- 
staining factory in Hartford, 

onn. 
1795 Ebenezer Clough founds 


“The Boston Paper-Staining 
Manufactory.” 


1800 The “Washington Memorial 
Paper”’ is issued by Ebenezer 
Clough. 

1800-1810 Asa Smith, factory in 

Baltimore, Maryland. 


1810 Edward Boriken begins 
manufacture of wall-papers 
in Boston. 


1844 First machine to print in colour 
is imported from England by 
the Howell factory. — 

1846 Second colour-printing ma- 
chine imported. 


1816 


1823 


being made in Frankfort and 
Worms. 


First machine to print wall- 
paper is introduced into Ger- 
many by Adolph Keferstein, 
Weida, the Grand Duchy of 
Weimar. — 

Sprélin invents a way to 
print rainbow papers, the 
manufacture of which is taken 
over by Schéppler and Hart- 
mann, of Augsburg. 


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ington Learned 
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wall paper from abroad for the 
on of Lafayette’s visit. To her | 
t distress the paper did not ar- 
until after Lafayette was there. 

fenerals, seeing the anxiety of — 
gton, turned paper hang- 
h net up. Whether this 
































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